Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

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. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.

Lacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in Paris, Teo Hernández. Part three of a tetralogy devoted to Christ’s Passion, Lacrima Christi is an exploration of the transfer between desire and myth that takes as its starting point a series of objects found in the flea market of Belleville.

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.

An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.

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.”

Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.

Film in three parts: (1) Paranorama 3 and 4: a handmade Région Centrale. At once observation and description of the realm of vision, of what is possible to see (sound recorded at the time of shooting). (2) Paranorama 5: simple observation of the realm of vision (sound added at a later time: illustration). (3) Pierre Rivière and I: attempt at reading the first lines from Pierre Rivière's testimony, as an embodiment rather than a stage direction.

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.