＜Story＞
A film considered almost lost even by Garrel, who recently found his negatives. Shot during the events of the May 68, it was made collectively; the film is a merge of Garrel’s and his partners’ points of view, all of them students and filmmakers that participated in the revolt.

＜Director＞
Philippe Garrel

Year of production: 1968
Running time: 6’
Country: France

＜Story＞
Beginning with its religious yet impious title, depicts the woman in a biblical hodgepodge that would drive any theologian to suicide: Mary is blended with Mary Magdalene, Jesus is confused with Joseph, and they’re all incestuous lovers. Everything is flipped around and out of place; the schizophrenic children of Marx and Coca- Cola grab the Holy Scripture by the throat, amidst a pop chaos worthy of Martial Raysse. Garrel never read the Bible. He dreamed up a Holy Trinity as he saw it in the Louvre — a mystification of Christ built on the aesthetic of his emaciation, and its concomitant politics. - Philippe Azoury

＜Director＞Philippe Garrel

Year of production: 1967
Running time: 80’
Country: France

＜Story＞
“Le Révélateur" is a silent film. A couple and their child flee in the face of an unknown, but still considerable menace. A film with neither laughter nor mutterings. In a desolate landscape, full of humidity and humilation, we see the weakest of beings stage his revolt: a child. - Bernadette Lafont

＜Director＞Philippe Garrel

Year of production: 1968
Running time: 67’
Country: France

＜Story＞
"Ici et maintenant"was the watchword on the streets of Paris in May 1968 and it set the standards very high. Run comrade, the old world is behind you, beneath the paving stones where it is forbidden to forbid, be realistic, demand the impossible. Everything, all at once, here and now, our juvenile desire for immediacy imprinted itself upon that episode from our past, sealing the outcome of our revolutionary uprising. - Patrick Deval

＜Director＞Serge Bard

Year of production: 1968
Running time: 71’
Country: France

＜Story＞
A pitch black and milky white film shot during one of Olivier Mosset’s exhibition openings. A psychedelic game of improvisation joins the Zanzibar group with Salvador Dalí, Barbet Schroeder and Jean Mascolo… the solarized image reminiscent of thick strokes of a paintbrush.” – Philippe Azoury

＜Director＞Serge Bard

Year of production: 1968
Running time: 53’
Country: France

＜Story＞
With its title taken from Georges Bataille’s journal Acéphale (literally, a headless man, but figuratively expressing the need to go beyond rational ways of thinking), Deval’s film is the most literary of the Zanzibar works. The film opens with an illustrative image: a head in the process of being shaved, in close up. This image is accompanied not by the sound of an electric razor but an electric saw, suggesting the need to achieve a tabula rasa by radical means. The story follows the adventures of a young man and his friends as they wander through a barely recognizable post–May 1968 Paris. In documenting the by-gone expressions and gestures of the ’68 generation in France, Acéphale becomes something of an anthropological film that reveals the rites and beliefs of the ideological novitiates. —Sally Shafto

＜Director＞Patrick Deval

Year of production: 1968
Running time: 58’
Country: France

＜Story＞
In 1969, the painter-sculptor Daniel Pommereulle made his third film, this one financed by Sylvina Boissonnas. Although only a short, Vite was one of the most costly of all the Zanzibar productions. It features, for instance, shots of the moon taken by a state-of-the-art telescope, the Questar, that Pommereulle first saw while visiting Marlon Brando in southern California in 1968. In Rohmer’s La collectionneuse, Pommereulle and his friend Adrien philosophize on how best to achieve le vide (emptiness) during their summer holidays. Three years later, Pommereulle would transform the word “vide” to “vite” (quickly), signifying his profound disenchantment with the aftermath of the revolution of May ’68. —Sally Shafto

＜Director＞Daniel Pommeureulle

Year of production: 1970
Running time: 33’
Country: France

＜Story＞
This film is an intentionally elementary meditation on certain primary functions of film, that could be said to be at the roots of film editing as such - expectations, exploring the picture, perceptual memory, relationships between on-screen and off-screen space - all explored in a series of free-standing sequence shots of perfect simplicity." - Noël Burch

＜Director＞Jackie Raynal

Year of production: 1956
Running time: 66’
Country: France

＜Guest＞
Samantha Leroy
Samantha Leroy is in charge of the promotion of the film collection of the Cinémathèque française. She programs the films from collection in several festivals and cinematheques and is member of the committee of authors for the on-line catalogue of restorations of the Cinémathèque française. She is also in charge of the production and development of the festival “Toute la mémoire du monde”. She is co-founder and president of the association L’Inversible, and organiser of the Home Movie Day in Paris.

Rushes muets pour Journal mural
＜Director＞
Bernard Eisenschitz / Jean Narboni
Year of production: 1968
Running time: 23’
Country: France

Rhodiaceta
＜Director＞Groupe Medvedkine
Year of production: 1969
Running time: 4’
Country: France

Paris, Mai 1968
＜Director＞Charles Matton / Hedy Khalifat
Year of production: 1968
Running time: 8’
Country: France

Fleurs et grenades
＜Director＞unknown
Year of production: 1968
Running time: 15’
Country: France

Sochaux 11 juin 68
＜Director＞Groupe Medvedkine de Sochaux & Bruno Muel
Year of production: 1970
Running time: 20’
Country: France

La Reprise du travail aux usines Wonder
＜Director＞Jacques Willemont / Pierre Bonneau
Year of production: 1968
Running time: 10’
Country: France

Ciné-Tracts
Year of production: 1968
Running time: 46’
Country: France