The great works of the past portray abundant testimonies, and are imbued with secrets and are teeming with mysteries. Beneath the surface of the painting, details awaken, to recount the spirit of the times and the vagaries of History, such as wars, revolutions, economic transformation, scientific discovery, beliefs and schools of thought.

Thirty-four year old Ramsès has established himself as a clairvoyant in La Goutte d’Or, Paris. A shrewd manipulator and something of a poet, he built a sound business consoling people. Elusive and dangerous youths, freshly arrived from the streets of Tangier, disrupt his business and the whole neighbourhood. Until the day Ramses has an actual vision.

During the war in Afghanistan, a French army captain stationed in a remote valley experiences a mysterious disappearance of soldiers under his command.

In the middle of the Siberian taiga, 450 miles from the nearest village, live two families : the Braguines and the Kilines. Not a single road leads there. A long trip on the Ienissei River, first by boat, then by helicopter, is the only way to reach Braguino. Self-sufficient, both families live there according to their own rules and principles. In the middle of the village: a barrier. The two families refuse to speak. In the river sits an island, where another community is being built : that of the children. Free, unpredictable, wild. Stemming from the fear of the other, that of wild beasts, and the joy procured by the immensity of the forest, unravels a cruel tale in which tensions and fear give shape to the geography of an ancestral conflict.

Amin, a young illegal immigrant, has recently joined a group of other illegal immigrants camping in the forest. With every night comes the opportunity to attempt sneaking into the dockyards and hiding under a truck.

For the 30th anniversaire of FIDMarseille about thirty directors have done us the honor of offering us some very beautiful short films.

This work is conceived around the reuse of television footage of one of the protest demonstrations against the Mubarak regime during the second revolution in 2011, in Cairo's Tahrir square.

Les Indes Galantes (The amorous indies), is an opera-ballet created by Jean Philippe Rameau in 1735. He was inspired for one of the dance by tribal Indian dances of Louisiana performed by Metchigaema chiefs, in Paris in 1723. Clément Cogitore adapts a short part of the ballet by mobilizing a group of Krump dancers, an art form born in Los Angeles black ghetto in the 1990s. Its birth occurred in the aftermath of the beating up of Rodney King and the riots, as well as police repression it triggered. Amidst this coercive atmosphere, young dancers started to embody the violent tensions of the physical, social and political body. Both the tribal dance performed in Paris in 1723, and the rebelious Krump dancers of the 1990s shape a reenactment of Rameau’s original libretto, staging young people dancing on the verge of a volcano.

Tucked away in their Moscow apartment, Ely and Nina Bielutine jealously guard one of the most significant and mysterious Renaissance art collections in Russia. Surrounded by their crow and cats, under the watchful eye of Leonardo da Vinci, Michelangelo and Rubens, Ely and Nina live in a world of their own, a fictional realm where art and lies have gradually gotten the upper hand over reality.

The starting point of the video installation devised by Cogitore is based on two unexplained phenomena having physical origins : the supposed perception of sounds emitted by the Northern Lights, and the appearance of a mysterious luminous object in Alaska. In both cases, superstitions and the Inuit and Saami belief systems have disturbed the quest for scientific explanations.

The sense of rituals and the manifestation of the sacred has underpinned all of Clément Cogitore's oeuvre, inspired by gatherings, communal phenomena, and the expression of beliefs of today, be they erratic or diffuse, or without a defined subject. The spread of images and the way in which they have become commonplace constitute the off-screen "narrative" of this approach: the artist confronts and responds to this with a visual intensity and a sense for storytelling that borders on the fantastic.

An inventory of incendiary practices across the world at the beginning of the 21st century as reflected in social and popular rituals, festivals, savage celebrations, riots and military offensives. This work is about the hypnotic power of flames and their spreading in jubilation, communion, transgression or terror.

She losses her sight. Once back among friends and family: blindness, isolation and a strange perception of the bodies around her. Rejection of this changes and an abrupt decision to put an end to it all. In the peacefulness of early morning, the terms of a new shared existence take shape.

October 22, 2010: the nuclear-powered submarine H.M.S Astute left the Edinburgh naval base on a personnel transfer mission.

A filmic essay/poem blending fictional images and archival footage from the Pathé and Gaumont collections from the early XXth century. Based on two figures/characters and paced by their interior monologues, Chroniques explores the mythologies of exile and exodus. From the grain of stock footage to the pixel of digital image, this film peruses the history of Europe the way we peruse a family photo album : between personal account and fictionalization.

Hundreds of small luminous screens float above a human sea : a concert audience takes pictures with their cell phones of a scene outside the frame. Like the subtitles of an absent song, or the inner voice of an invisible narrator, verses from R.M. Rilke’s "Duino Elegies" punctuate this enormous collective wave of energy redolent of a digital ceremony.

Video performance made using a lorry, a generator and a 16mm projector, Travel(ing) compares the reality of an experience with its representation in film.

Archive film of the Lascaux cave

Follow in real time the peregrinations of a small pack, prisoner and resigned, recount death like a children's tale, share the twilight between tranquility and terror. Film the fence as one would a still life.

For the making of "Assange Dancing", Cogitore used an amateur video shot and published online by the DJ of a club in Reykjavik in 2011. It shows the activist and Wikileaks founder dancing on a semi-deserted dancefloor.