Michel Nedjar Trailers
Crime contre le cinéma TrailerDolls of Darkness: The Art of Michel Nedjar TrailerMadrid, Quelques Images Trailer
Master of Art Brut, Michel Nedjar was born in 1947 in the Val d'Oise to a Jewish family marked by war and the holocaust. His father, born in Algiers, settled in Paris in 1921 as a tailor. At home, he tinkered on a sewing machine doll clothes for his sisters. During the Second World War, a large part of his family fell victim to Nazi oppression.
In 1960, he became aware of the magnitude of the Holocaust. At the age of fourteen, he enrolled in a vocational school to become a tailor and sells jeans with his flea grandfather from Saint-Ouen and accompanies his grandmother to the scrap fair; she makes him share his love for Shmattès (the worn cloth) that she picks up and stacks. In the spring of 1967, he left for military service. With tuberculosis and declared disabled in 1968, he spent a few months in a school of fashion stylist. He is upset by the vision of 'Night and Fog' by Alain Resnais, echoing his own disappearances in his family.
In the years 1970-1975, he left with Teo Hernandez. His travels take him to Morocco, Asia Minor, Europe and Mexico. He discovers cultures rich in symbolic expressions. He begins to take an interest in the funeral art and the dolls whose magic function fascinates him. Returning to Paris in 1976, he began making his first dolls called "Chairdâmes" with rags that he gleaned in the neighborhood of the Goutte d'Or, then made dolls dyed. In 1978, a period of depression transformed his style: his dolls look like gargoyles and terrifying totems, they are sometimes soiled with dirt and even blood. It was in 1980 that he began to draw with grease pencils on recovered flea media.
He made his first films in 8 mm from 1964 during his holidays in Greece or the Balearic Islands. Like Lionel Soukaz, he is one of the first French experimental filmmakers to address the theme of homosexuality (Le gant de l'autre, 1977). His practice will evolve towards a more formal exploration of the characteristics of cinema: luminous calligraphies (Gestuel, 1978), grain of the film (Le grain de la peau, 1986); either to direct cinema (Monsieur Loulou, 1980). These research finds their paroxysm in Capitale-paysage (1982-83), mixing snatches of conversations, work of concrete sound and rhythm, and kaleidoscopic effects.
Most Popular Michel Nedjar Trailers
Total trailers found: 60
05 February 2020
The episode of Gérard Courant's Carnets filmés, Crime contre le cinéma (December 25, 2006 to December 2, 2006) is divided into four parts: Colas Ricard at Centre Pompidou, Joseph Morder at La Rochelle, the Filmer à tout prix Festival in Brussels, and Michel Nedjar and Jakobois at Centre Pompidou.
31 December 1983
Outtakes from the movie
20 December 1978
Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011.
18 October 1978
Reel 3 of Gérard Courant's on-going Cinematon series.
23 November 2003
Black room revealed
08 April 1991
Experimental film by Teo Hernández.
28 January 1987
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body.
06 June 2016
Dolls of Darkness is a feature length film that explores the mysteries and profundities of dolls, puppets and marionettes in the context of the grotesque rag dolls of contemporary French artist Michel Nedjar.
06 April 1986
Short film by Teo Hernández.
01 June 2001
Diary video work by Michel Nedjar.
31 December 1984
Outtakes from the movie
08 June 1983
"In this swirling and colorful hymn to Paris, a kind of new Symphony - but jazzed up - of a big city, we find the almost ethnological attention to others, the work of concrete sound.
01 January 1980
A nocturnal "offside". Pascal Martin and the celluloid bather summon us to a strange magical rite that refers to the ambiguous games of childhood.
01 January 1979
As this title indicates, the rule of the game is random. The protagonist invites us to play rhythmic palpitations of radio parasites and broken images.
28 June 1977
A sexagenarian transvestite in his room, confronted with his fantasies and his solitude.
01 January 1984
A single-screen version of the Portraits / Mirrors multi-projection. Featuring portraits of: Aloual, Gaël Badaud, Raphaël Bassan, Yann Beauvais, Jean-Michel Bouhours, Gérard Courant, Berndt Deprez, Bertrand Gadenne, Mythia Kolésar, Christian Lebrat, Stéphane Marti, Pascal Martin, Michel Nedjar, Dominique Noguez, Vivian Ostrovsky, Bernard Roué, Martine Rousset, Alain Sayag, Unglee, and Catherine Zbinden.
01 January 1982
An autobiographical film that orchestrates the fragments of Michel Nedjar's life, to compose an architecture.
01 January 1981
Outtakes from the movie
30 August 1977
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates.
01 January 1984
Teo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.
01 January 1981
Portrait of the filmmaker's mother during her visit to Paris.
08 June 1983
Fugitive images of the northwestern city of France.
16 March 1983
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
22 December 1978
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural.
01 April 1970
The desert, the sea, someone. I meet Michel Nedjar; together we went to the south of Morocco. There, a movie begins to take shape and develops as our journey continues.
01 January 1976
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
19 April 1980
Lacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in Paris, Teo Hernández.
14 June 1977
Exploration of bodies. Point, counterpoint. A black glove goes in search of a red glove.
01 July 1970
An early Téo Hernandez film exploring the space of a garden. Shot in July 1970 in the Carlsberg Glyptotek garden in Copenhagen, Pause is a 8 mm black‑and‑white silent short in which Téo Hernández roams the museum garden, alternating tight close‑ups of bodies (hands, feet, faces) and textures with sculptures and vegetation; the camera’s halting, scanning movement turns the stroll into a study of matter, framing and rhythm.
01 January 1978
Splendid portrait of the artist Michel Nedjar making one of his dolls, which allows to fully follow the entire genesis of the act of creation.
25 July 1980
The film Graal goes (as well as all the films which precede it) toward an open and avowed paganism, in which pagan force and magic imbue all the subjects at all times.
01 March 1978
"ANGLE, with its brief black and white shots, almost always plunging and oblique, of naked bodies or parts of bodies, is a film of rupture.
01 January 1979
Wings white, she's red, wings scream, she sings, wings fly, she moans, wings rise, she hides, wings move, she teaches me.
23 November 2003
"The nocturnal animal life in the dark ... There you go. Here is what put the flea in my ear or rather the flea in the eye .
31 December 1984
Chutes de Lacrima Christi is an 95‑minute experimental collage film assembled entirely from unused outtakes of Teo Hernández’s earlier work Lacrima Christi.
31 December 1977
With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondary in the filmmaker's work, whose purpose is the constitution, by interposed myths, of a baroque cinematographic language.
17 November 1978
This film is the most "plastic", the most "actionist" of Nedjar: it is his In contextus or his Double Labyrinth.
31 December 1983
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
