A cynical, quasi-misanthropic film which, despite its childish appearance, manages to enumerate and decline some of the bestial mythologico-historical collectivities which have emerged from the collective imagination: Collodi's donkeys, the rats of Hamelin, Circe's pigs, Panurge's sheep, Pavlov's dogs. Contemporary television resembles a gigantic farm; the lure of success and fame which it offers is analogous to Pinocchio's experience when he was assured that he would never have to work again (lifelong entertainment) - and was transformed into a donkey! Individuality does not exist; Don Quichotte is not alone in believing in windmills.

A diptych whose two panels merge in an exterior-to-interior movement: billboards and neon signs solicit passersby and transform them into spectators of the boulevard's numerous and infernal sex dens, themselves a pure product of consumerism - an indissociable element of contemporary orgasmic pleasure.

On the 29th of June, 1936, Pius XI addressed a pontifical encyclical entitled "Vigilanti Cura" to all the Catholic bishops in the United States.

Metaphysics through the major genres (and open spaces) of American cinema and its golden age thanks to the shoes of the greatest dancers of Tap Dance of all time, The Nicholas Brothers trip. The actor and dancer Gregory Hines said that if one would like to do a biopic about them today, this would require CGI to replicate their dance number!

An installation with different facets: two friends in a masturbation exercise in which both lose out and the collection of images that could explain the apparent impotence.

An experimental fiction cut into six distinct parts that present the feeling of love as “precarious” fragments of identity. The ambition of these fragments is to retranscribe the personal affect of the film author as much as the more general one of a collective and common imaginary.

Acizo is a found footage film created around the cult shower scene of Janet Leigh in Alfred Hitchcock’s “Psycho” ( 1960). Although the film does not feature any original “Psycho” footage, it preserves the subsequent cinematic heritage and imagery influenced consciously or not by Hitchcock’s film. ACIZO also keeps true to the length and scale of each shot. Bernard Hermann’s score is the only original element preserved.

This film recounts an incident that took place during a show in a public place. One man stabbed two others. The continuous footage of the show, unintentionally sordid, has been replaced by video fragments from the salvific cinephilia of one of the two survivors, whose subjective point of view the film adopts.