Claude Ventura

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"I am coming out of seven years of a life that I truly believed was meant to be. I had room and board. I grew seven years older. For the rest, it's absolutely as I'd always dreamed it. There was not an object we bought together. Not a neighborhood where we lived together. No house, rent, bed by the wall, concierge. Not a line, a note, a word in his writings about me. Did I exist? If he were to leave tomorrow. I'd have nothing (September 1939)." Brive, Hotel Terminus. The two ghosts I am pursuing slept here a few nights... Sixty years later, I wanted to sleep here too. Room 15 another room, another hotel... in November 1942, they came through here without leaving any more of a trace than I will her whole life in a suitcase. The suitcase in which the paper woman slept then exchanged hands until it virtually became mine for a few months."

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An in-depth investigation into the double crime of the Papin sisters, which made headlines in the early 1930s and has fascinated readers ever since. Claude Ventura returns to the circumstances of the savage murder of their boss by the Papin sisters, which occurred in Le Mans on February 2, 1933. This case fascinated Jean-Paul Sartre and Simone de Beauvoir as much as Jean Genet and Jacques Lacan.

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Sultans of swing - Lady writer - Romeo and Juliet - Tunnel of love - Private investigations - Twisting by the pool - Love over gold (live 1983) - So far away - Money for nothing - Brothers in arms - Walk of life - Calling Elvis - Heavy fuel - On every street (live 1992) - Your latest trick (live 1992) - Local hero - Wild theme (live 1992)

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A “Cinéma, de notre temps” series episode directed by french filmmakers Philippe Garnier and Claude Ventura, originally aired 13 September 1995.

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Claude Ventura's documentary Chambre 12, Hotel de Suede, was made for the French television channel Arte in 1993. Ventura checks into room twelve in the hotel's final week of operation: it is demolished the day after he checks out. Room twelve was one of the principal locations for Jean-Luc Godard's New Wave masterpiece Breathless, and Ventura's documentary investigates the production of Godard's film.

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Episode of the French television series "Cinéma Cinémas" which documents the discovery of the negatives that led to the completion of the color version of Jacques Tati’s 1949 film "Jour de fête".

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Documentary on Godard, spanning his career to date with insights from his collaborators and on-set footage from various films. Produced for the French television program "Cinema Cinemas"

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A ten episode Tv series on cinephilia, in which contributors to both American and French films are interviewed.

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In 1980, American tenor saxophonist Sonny Rollins taught a masterclass at Salle Wagram in Paris to Charles Schneider (tenor saxophone) Marc Thomas (alt saxophone), Yves Torchinsky (double bass), and Stéphane Gremaud (drums).

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The Stranglers perform live at Théâtre de l’Empire in Paris 1979.

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A series based on films by amateur filmmakers, retracing French (film) history.

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Recorded on French TV, the concert marked the first time since the breakup of The Velvet Underground that Reed, Cale and Nico were on stage together.

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Jean, a musician living in exile in Paris, returns to his hometown of Sète to bury his mother. This intimate film traces the journey of four friends under the sun of the peninsula.

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"I am coming out of seven years of a life that I truly believed was meant to be. I had room and board. I grew seven years older. For the rest, it's absolutely as I'd always dreamed it. There was not an object we bought together. Not a neighborhood where we lived together. No house, rent, bed by the wall, concierge. Not a line, a note, a word in his writings about me. Did I exist? If he were to leave tomorrow. I'd have nothing (September 1939)." Brive, Hotel Terminus. The two ghosts I am pursuing slept here a few nights... Sixty years later, I wanted to sleep here too. Room 15 another room, another hotel... in November 1942, they came through here without leaving any more of a trace than I will her whole life in a suitcase. The suitcase in which the paper woman slept then exchanged hands until it virtually became mine for a few months."

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A filmmaker’s self-portrait, asking hard questions of herself and of us. Invoking Aurore Clément as a kind of stand-in or proxy, a glamorous counterpart to Akerman who sports a drawn-on moustache. What is cinema for? Who is it for? If the Mosaic prohibition on making graven images includes film images, then where does that leave a Jewish filmmaker?

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