Joseph Morder

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I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

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The episode of Gérard Courant's Carnets filmés, Crime contre le cinéma (December 25, 2006 to December 2, 2006) is divided into four parts: Colas Ricard at Centre Pompidou, Joseph Morder at La Rochelle, the Filmer à tout prix Festival in Brussels, and Michel Nedjar and Jakobois at Centre Pompidou.

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Valentin is a young gay painter who lives in the imaginary world of his paintings. When he finds his grandmother Nina, a Polish Jewish émigré whith whom he feels very close, he confesses his lack of inspiration and loneliness. During these few days together in a psychedelic Paris, Valentin expresses more and more the need to know the past Nina always tried to hide …

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The filming of Joseph Morder's Cinématon n°1968.

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Almost all of this episode of the Carnets filmés, with the evocative title, Tout est Brisé is devoted to the misdeeds of the storm of 26 December 1999 on the Bois de Vincennes, whose forest extends at the foot of my building. For several months, I was the cinematographic witness of this disaster which brought down more than half of the 130,000 trees in the Bois.

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Joseph Morder sur Radio Ark en Ciel is the sound recording of this meeting in which the filmmaker talks about his films and his famous Film Diary and about the Morlock Academy which he founded in 1980.

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On the occasion of the passing of Marcel Hanoun, Gérard Courant wanted to pay tribute to this companion whom he had known since 1975 by accompanying him with the song Avec le temps by Léo Ferré.

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This episode of Carnets filmés, Délices lointains, which spans the year 2004, reaches its climax in its last part with my trip to Mexico with the photographer Barbara Peón Solis.

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Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.

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City of his childhood, Dijon and his friends are the heart of this Carnet Filmé.

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Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).

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Ghosts of the past have come to today's world. They have taken the appearance of human beings and have a story to tell us. A camera mobile phone is always in their field. Through the seasons and the places, they speak about war, about camps, about extermination. They have the duty to get into our memory.

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Joseph Morder begins to film his life with a cell phone and thus begins to realize some life-changing experiences in attempts to discover a new film language

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William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

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Joseph Morder returns to Guayaquil, Ecuador, 40 years later, returns to be José and meets his past.

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15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.

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A film about an ongoing cinematic adventure that began in 1978: a vast anthology of personality portraits called Cinématons, dealing with people in the arts. Historical, ethnological, sociological and psychological, this anthology is a living record of the artistic community of the last 20th century which attempts to answer these questions: Why film everyone? Why choose cultural personalities? How do the subjects look at their image? How much exhibitionism and narcissism is involved in being filmed?

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A young man tired of writing and rewriting a screenplay decides to begin a Super 8mm film diary. He films his parents and those close to him and determines to tell the about his homosexuality.

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An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.

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One of the most intimate and obstinate filmmakers in Belgium, Boris Lehman acts, directs, produces, and distributes his films, single-handedly incarnating the essence of a creator who manages to survive on the fringes of his industry. From Brussels to Paris, friends, filmmakers and critics offer their understanding of a man for whom life is a reason to film, and film, a reason to live.

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To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

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Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.

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A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.

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Max, a forty-year-old bachelor, receives a telephone call from a childhood friend, Charlotte, who left for Canada with her parents thirty years earlier.

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Assoud, known as "The Buffalo", and his sister Louise are private detectives. One day, a mysterious character asks them to carry out an investigation into the places of his childhood in Cuba. In Havana, the siblings find their cousin Mimi Shanghai, and discover an evil beach haunted by a mysterious legend. They then set out for their client's childhood home. When the client decides to join them, they at last discover his face and enable him to come to terms with his past.

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William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

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A private detective, Assoud the Buffalo, feels lonely and is heading for deep depression at the beginning of the Parisian summer. Lucy, a friend, organises a mysterious meeting for him on the banks of the Canal St Martin.

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Magda Freund, widow, recently arrived from Argentina, visits a Parisian apartment. Although knowing that its owner does not want to rent it for the moment, Magda, mysteriously seduced by this place, wishes to meet him to convince him to change his mind. This man is called Marek Kowalski and lives in the outer suburbs. Magda decides to make the journey.

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Suzanne and Albertine, her daughter, return to Omaha Beach, one of the D-Day beaches where their family has spent holidays for a Long time. The place is the scene of major family events. This time, Albertine has something to tell her mother.

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Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.

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A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.

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Max, a forty-year-old bachelor, receives a telephone call from a childhood friend, Charlotte, who left for Canada with her parents thirty years earlier.

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The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

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In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

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On 30 October 1967, Joseph Morder began a unique experiment in France: a diary filmed on Super 8. Les Nuages américains (journal filmé neuf) is one of the episodes of the filmed diary that Joseph allowed himself to show to the public. The story of this film is that of a trip the filmmaker made to the United States in 1982. But like all of Joseph Morder's diaries, it is first and foremost a poetic interior journey, a journey into the author's stream of consciousness...

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Lucien Lumière has just bought a camera. He wants to experiment. In a square, he discovers a young woman sitting on a bench and decides to film her...

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