we are scum! we are barbarians!

« A man and a woman make love, they share their pleasure like scissors which cross ». The pair, like a pair of scissors that is sharp, dangerous and sublime. « Les ciseaux » (the scissors) is a video made using images from the Nabil Ayouch's film « Une minute de soleil en moins », censored in Morocco. »

“My grandmother was born in what is now Burkina Faso, as a result of an encounter between a French soldier and a young African woman. The discovery of the unique fate of the mixed-race minority to which she belongs, as they were separated from their mothers, abandoned by their fathers and finally confined in orphanages, returns me to my own mixed-race identity.” Available online until November 19th 2021.

"The Girls of Kamaré" presents itself as a detournement - read subversion - of Suzuki Noribumi's "A Pair of Panties for Summer". In this film, René Viénet furthers his exploration of Sade and women in head-on collision with all legal and moral restraints. If "Can Dialectics break bricks?" declares itself "the first entirely detourned film in the history of cinema," then this effort proudly wears the mantle of "the first subversive Japanese porno film." This is not for the faint-hearted. It explores the legacy of colonialist torture, the flatulence of Sartre, the Orientalism of Barthes and the restraints of everyday day life which, left unopposed, give rise to the survival sickness experienced by most of the world. The sadistic genre conventions of a Japanese girls' reform school porno film are utterly transformed into the vehicle for the expression of revolutionary rage against the very constraints from which aficionados of the genre take their pleasure. And the vast majority of the interventions are purely textual: French subtitles which not only betray the Japanese spoken word, but subvert it at every turn.This is translation brought to the level not only of an art form but to that of a revolutionary initiative. Presented here with English subtitles by Keith Sanborn and various collaborators.

Les Maitres Foux is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as labourers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governor general, the engineer, the doctor's wife, the wicked major, the corporal of the guard.

One “pie noire” goes back to his country to meet his dying father. It is the last month of the Algerian war.

This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.