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Remember Me is a dark, obsessive and emotive treatise on death. Its aim is to explore the intimate, personal and often secret relationships that people have with mortality and loss. The tape uses original and found footage to capture the complex web of emotions which surround death and to create a passionate journey through difficult private territories.

Is staying home enough to stay alive? In Remember the March, Güliz Sağlam documents the days when women took tothe streets despite the pandemic to protest male violence. First, the camera watches the empty streets from a window. Sağlam narrates excerptsfrom Purple Roof Women’s Shelter Foundation’s reports on violence against women during the pandemic period, specifically cases that expose how Law No.6284 is not put into practice. And then, as women go out to the streets, the camera becomes part of the crowd, reminding us of the power in solidarity in hopeless times.

At the award ceremony for the Collar of the Hermine in Pontivy in September 2000, René Vautier was confronted by Claudine Dupont-Tingaud, a former regional councilor for the National Front and ex-OAS activist. With sharp wit and humor, Vautier tore apart her arguments, and in the end, she walked out of the room under a chorus of boos from the audience.

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.

Using a fragment of 1970's porn, nail polish and bleach, the filmmaker has worked frame by frame upon the film body. This erasure creates a new pornography, a film in which the woman exists only as an empty, animated hole.

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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.

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.

Lies can bring happiness if you realise they are real! A series of panels where you can meet the ever-ecstatic Teresa de Avila, the mightily phlegmatic Anubis and other perverted figures of a strange third mind world.