Collective film (1’45s, 2020).
Harassed or stalker, how the functions lock each other up.
A film by Benoît Labourdette (2’58s, 2015).
A meeting of missing persons in a deconstructed place in transformation. Reminiscences of voices and breaths. Exploding of architectural elements, tables, chairs, windows, lamps...
Collective film (2’14s, 2019).
Assuming self-image on social networks: not so easy!
A table is a support, made up of several elements that make it capable of supporting the weight of other objects. But above all, etymologically, the table is the support for writing. Writing this word is therefore an almost original mise en (...)
Collective film (4’25s, 2017).
Small depresses of the everyday objects.
Collective film (4’37s, 2019).
Intimate testimonials of objects that feel lonely or abandoned.
A film by Benoît Labourdette (1’41s, 2005).
Preparations for a cinematic event.
Collective film (3’19s, 2018).
The little object people of a building courtyard.
A film by Benoît Labourdette (5’16s, 2011).
A meeting, like a thousand other meetings. No, it is your meeting.
Collective film (1’51s, 2017).
Objects foment their future freedom.
A film by Benoît Labourdette (2’25s, 2020).
“A place of one’s own, what is it?”
Collective film (4’03s, 2019).
Musical performance in virtual reality in the heart of the city.
A film by Benoît Labourdette (3’33s, 2013).
In Vitrolles, in the south of France, a rocky peak overlooking the city. It is found scattered clothes and a mobile phone, in which there was a movie and a text. The work of a madman, it seems, which was not (...)
A movie by Benoît Labourdette (2’19s, 2014).
Life on a blank screen...
Pocket Films began as a film festival, founded by Benoît Labourdette with Forum des images (Paris, France, 2005-2010), dedicated to the creation of films with cell phones and pocket cameras. Its success made that it has become a common name : we (...)
Hands, or rather the hand, is a subject that matters to movies shot with handheld cameras : the camera in one hand, that films the other hand.With mobile phones, filming his feet was a recurring figure, because when turned on the phone, in a (...)