Content from Zeugma Films

Nino Ferrer has had several lives: hits that made him famous; a dark but artistically fruitful period; a hidden life -of his own making- breaking away from showbiz. All these facets are concentrated in a brilliant, complex, skinned character. "It looks like Nino Ferrer" is a film rich in international archives (TSR, RTSI, Rai...), rare documents (Super 8 films of the Ferrer family) and even unpublished films (Nino Ferrer as an actor in an advertisement for Italian cheese). The film is also punctuated by the memories of famous musicians such as Manu Dibango as well as by the singer's successes and his live performances (L'Olympia, L'Arche de Noé).

Whatever happened to this promising young actress from Hollywood? A search for "the woman in the car" through the never-ending suburbia of Los Angeles, where the myth of cinema reigns. A sort of thriller without a corpse.

Jean Sénac, born in Béni Saf in Algeria in 1926 and died in Algiers in 1973, is today considered one of the great French writers and poets and the only one of his reputation to have accompanied the Algerian revolution before November 1954. part of all the debates and got involved, very early and with immense enthusiasm, in a work of commitment which ended badly. His poetry, his sexual preferences and his political lyricism work against him: rejected as much by the Pieds Noirs as by the FLN activists then by the power in place in Algiers, Jean Sénac was assassinated in 1973 at his home in Algiers, in circumstances never clarified.

Le Cercle des noyés is the name given in Mauritania to black political prisoners imprisoned from 1987 in the old colonial fortress of Oualata. This film touches on the fragile process of unveiling memories by one of these former prisoners who remembers his story and that of his companions. In a visual echo, the places of their confinement come one after another denuded from any traces of that past.

A filmed adaptation of Rose Leiman Goldemberg’s play, based on Sylvia Plath’s intense correspondence with her mother Aurelia, from the time the poet was in university until her suicide. Delphine Seyrig and her niece Coralie Seyrig recite Sylvia and Aurelia’s letters to the audience directly.

Human beings who have experienced such a strong shock that they are no longer even afraid of death (as it often happens to genocide survivors) sometimes fall into what is known as a feeling of timelessness or a “melancholy”. They live somewhat “outside” time, a mode of extra-temporal existence, waiting for the day on which they will be freed from their suffering. It is the people — almost ghosts having survived the conflict in Nagorno-Karabakh between Armenians and Azerbaijani that has lasted for almost twenty years — that the filmmaker shows and listens to in his film. Behind them, behind their wandering bodies, behind their frenzies, is what remains of the collapse of the Soviet Union in Caucasus: ruins, uninhabited spaces, tombs, vestiges of war, trenches where soldiers watch for an invisible enemy.

Straddling a 2,400-kilometer-long wall constructed by the Moroccan army, the Western Sahara is today divided into two sections — one occupied by Morocco, the other under the control of the Sahrawi National Liberation Movement’s Polisario Front. Drawing from stories of flight, exile, interminable waiting and the arrested, persecuted lives on both sides of that wall, this film bears witness to the Sahrawi people, their land, their entrapment in other people’s dreams. In an esthetic that sublimates the real, Lost Land resonates like a score that juxtaposes sonorous landscapes, black-and-white portraits and nomadic poetics.

Guided by the sheepbells of a flock and by the evocations of the lost, this film is a voyage through storms; those of the mountains and winter, those of bodies and souls, those which remind us that which nature has not obtained from our reason, obtaining from our madness.

Chronicles of rural life, misadventures from the past century, fights one must win to muster misery and resistance against servitude and wage labor in the South of Portugal.

This documentary follows 5 years of struggle for truth and justice after the murder of 69-year-old Ali Ziri by the french police, covered by the judicial institutions.

The film tells the intertwined story of two slums that were built, forty years apart, on the same territory. In Massy, in the southern suburbs of Paris, we lived at a time of economic growth, full employment and promising future. It was the 60s. We are at the beginning of the 2000s. They dwell in a climate of crisis and exclusion. Most of these are Roma and are fleeing a country that rejects them.

2009 documentary by Pierre-Yves Vandeweerd, set in Belgium, Senegal, the Ardennes and Western Sahara.

The documentary highlights day-to-day life in a boarding school named Zuoz. Here, high in the Swiss mountains, the heirs of rich and influential families are locked up and expected to perform. Director Daniella Marxer spent her youth in such an institution. At Zuoz, individuality is neither tolerated nor of interest. There are very few deviations from the rules; the system has to work perfectly. Rebellion is not tolerated, and if you don't submit, you will immediately be expelled.