Security Guards is a short documentary shot on location at the Jeu de Paume. The film shows this prestigious Parisian contemporary art centre through the eyes of the security guards. Questioning the role of art in society, the film connects the political context of Paris today with the rising tension between the Sarkozy administration and issues around immigration within an elitist French, white, bourgeois art world.

The Santo Daime ritual. Syncretism in Brazil, combining Catholic popular beliefs of Portuguese origins, the traditional practices of African slaves, and Amazonian indigenous culture. With the use of Ayahuasca.

This portrait of René Vautier, the most censored filmmaker in France, unfolds with an ironic and biting staging, a faithful reflection of an untamable director who was never afraid of the most scathing humor.

Rene Vautier, Brittany, 1928, studied at the “Institut des Hautes Etudes Cinématographiques”. Author of several works denouncing Colonialism, including: Afrique 50, Un homme est mort, Une nation, l'Algerie, L'Algerie en Flammes, Hirochirac,... René Vautier appears to be the archetypal socially committed filmmaker: his militant films are held up by a flexible rigorousness and formal ingenuity that help him overcome the practical problems arising from his "social intervention" works. In his own words, his motto could be: "Write history in images, immediately". In 1950, disgusted by the French censors who confiscated many of his reels, he managed to finish Afrique 50, the first French anti-colonial film. His social commitment as a filmmaker leads to 13 charges against him, and a jail sentence. At the price of many years in jail and a hunger strike, René Vautier's struggle against all kind of oppression - political, economic and cultural – will endure.

Remixes-Tapes is a series of six videos exploring the questions of movement, degradation, light and color visual impact, corporal representation and mobility on screen, and communication between men and women. All videos are made from extracts of famous occidental movies - featuring Louise Brooks, Gene Kelly, Catherine Deneuve – and while deconstructing their representative function, propose another lecture to the movie. Gradually, what emerges from one tape to another is a visual evolution from relative immobility to illisible acceleration – a round trip maybe looking for the end of cinema - ,and an evolutive content from the woman loneliness representation to her standing in front of the man, and the communicational issues it brings out. Remixes-Tapes is a video work exploring the territory of cinema, a proposition in movement questioning the possibility of immobility, and finally an evocation of human loneliness dealing with communicational issue. The conciliation of all these contradictions makes its lecture possible of multiple interpretation, but the general feeling is one of a bright and colourful nostalgia.