International Competition Award: FUCK THE POLIS by Rita Azevedo Gomes

Georges de Beauregard International Award: FRÍO METAL by Clemente Castor

Special mention of the International Competition Jury: COBRE by Nicolás Pereda

French Competition Award: BONNE JOURNÉE by Pauline Bastard

Georges de Beauregard National Award: HORS-CHAMP, LES OMBRES by Anna Dubosc, Gustavo de Mattos Jahn

Cnap (National Centre for Visual Arts) Award: DES MILLÉNAIRES D’ABSENCE by Philippe Rouy

Special mention of the Cnap (National Centre for Visual Arts) Jury: L’AMOUR SUR LE CHEMIN DES RONCETTES by Sophie Roger

First Film Award: FANTAISIE by Isabel Pagliai

Special mention of the First Film Competition Jury: LOS CRUCES by Julián Galay

Special mention of the First Film Competition Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

Claudia Cardinale Foundation Award: FERNLICHT by Johanna Schorn Kalinsky

Cine+ Distribution support Award in partnership with GNCR: MORTE E VIDA MADALENA by Guto Parente

Flash Competition Award: گل‌های شب ِدریا by Maryam Tafakory

Special mention of the Flash Competition Jury: A PRELUDE by Wendelien van Oldenborgh

Special mention of the Flash Competition Jury: CONTROL ANATOMY by Mahmoud Alhaj

Special mention of the Flash Competition Jury: LENGUA MUERTA by José Jiménez

Alice Guy Award: ABORTION PARTY by Julia Mellen

Renaud Victor Award: BULAKNA by Leonor Noivo

Special mention of the Renaud Victor Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

High School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the High School Jury: MIRACULOUS ACCIDENT by Assaf Gruber

The Second Chance School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the Second Chance School Jury: JACOB’S HOUSE by Lucas Kane

Audience Award: LA JUVENTUD ES UNA ISLA by Louise Ernandez

International Competition Award: FUCK THE POLIS by Rita Azevedo Gomes

Georges de Beauregard International Award: FRÍO METAL by Clemente Castor

Special mention of the International Competition Jury: COBRE by Nicolás Pereda

French Competition Award: BONNE JOURNÉE by Pauline Bastard

Georges de Beauregard National Award: HORS-CHAMP, LES OMBRES by Anna Dubosc, Gustavo de Mattos Jahn

Cnap (National Centre for Visual Arts) Award: DES MILLÉNAIRES D’ABSENCE by Philippe Rouy

Special mention of the Cnap (National Centre for Visual Arts) Jury: L’AMOUR SUR LE CHEMIN DES RONCETTES by Sophie Roger

First Film Award: FANTAISIE by Isabel Pagliai

Special mention of the First Film Competition Jury: LOS CRUCES by Julián Galay

Special mention of the First Film Competition Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

Claudia Cardinale Foundation Award: FERNLICHT by Johanna Schorn Kalinsky

Cine+ Distribution support Award in partnership with GNCR: MORTE E VIDA MADALENA by Guto Parente

Flash Competition Award: گل‌های شب ِدریا by Maryam Tafakory

Special mention of the Flash Competition Jury: A PRELUDE by Wendelien van Oldenborgh

Special mention of the Flash Competition Jury: CONTROL ANATOMY by Mahmoud Alhaj

Special mention of the Flash Competition Jury: LENGUA MUERTA by José Jiménez

Alice Guy Award: ABORTION PARTY by Julia Mellen

Renaud Victor Award: BULAKNA by Leonor Noivo

Special mention of the Renaud Victor Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

High School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the High School Jury: MIRACULOUS ACCIDENT by Assaf Gruber

The Second Chance School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the Second Chance School Jury: JACOB’S HOUSE by Lucas Kane

Audience Award: LA JUVENTUD ES UNA ISLA by Louise Ernandez

Atelier rolle, un voyage, Rolle Workshop, a Journey

Fabrice Aragno, Jean-Paul Battaggia

Switzerland, 2025, Color, 30’

World Premiere

The studio visit is a pictorial genre brought to its peak by Courbet in a painting where he summarised “seven years of [his] artistic (and moral) life.” It is this exercise that Fabrice Aragno and Jean-Paul Battaggia undertake, collaborators and companions of Jean-Luc Godard during the last two decades of his filmmaking life. The visit is posthumous, yet the half-smoked cigar in the ashtray seems to await the smoker’s return. Guiding the viewer through JLG’s studio, the film shares the matter and memory of a shared creation. It does so in full fidelity to Godard’s imperative of equality between sound and image: the latter providing the matter, the former the memory. Gliding along the shelves, the camera picks up titles of books and films, names of writers and filmmakers –the raw material of Godardian editing– from Penser avec les mains to The Animal That Therefore I Am, from Baudelaire to Ulmer. Accompanying the sound are memory-extracts from films of this final period, including many phrases and dialogues from In Praise of Love. A final movement lingers on the coloured matter, close to the brushstroke, and thus to the hand of one who, from childhood to old age without passing through adulthood, never ceased to paint.

Cyril Neyrat

Interview

Fabrice Aragno, Jean-Paul Battaggia

The film opens with the date of Jean-Luc Godard’s passing. Soon after, we see a half-smoked cigar resting in an ashtray – as though he had only just left the room. Could you tell us about the origin (the initial impulse) and the genesis (the making) of the film?

For my part, the idea – or rather the initial desire, as with the exhibitions, live screenings, and encounters around his films – to ‘open up’ the technique, was to share emotions, to share what we had seen, experienced, and worked on within the intimacy of that “cinema house”.
But then, suddenly, came the stupor of his departure, the silence, the standstill. Time frozen inside, fleeing outside.
In that stillness, within that suspended time, the arrangement of things, the books together on the shelves, the objects, the collages and other pinned compositions struck us. One could see the marks, traces, signs, and the feelings that had inhabited him.

A constantly moving camera, gliding at a steady pace; frames that quickly tighten around close-up views of objects (books, tools, DVDs), then move in still closer, to brushstrokes of paint: can you explain your visual approach in composing the film, this singular way of leading the viewer through the studio?

Éloge de l’amour sits neatly shelved above 5000 ans de dettes, and so on. Two shelves – those of two films in progress, Drôles de guerres and Scénario. The associations, the works-in-progress are all there, disassembled. I wanted to wander through that world like an ant, meandering from branch to branch in that forest. A pinned note reads, “The years that drag us toward the end…”
“Romeo and Juliette” – the Cuban cigar rests on a hand-written calendar. Opposite his worktable, written in graphite on the roughcast wall above a pinned collage is, “What does it matter – everything is grace” – like the “scenario” of where he came from and where he was going.
If we start from the top, then it all begins at the top of cinema (a 35mm image) – of female figures, then moves through love, to the gaze of Roxy at its heart, then human suffering, a window with a sunset, an image of death opening onto a forest of vivid colours surrounding, embracing, watching over an old man, and so on.

You are faithful to the master’s lesson: equality and fraternity between image and sound. After the creaking of the wooden stairs as the visitor ascends, the soundscape is composed solely of excerpts from JLG’s films. Among those from which you borrow “phrases”, Éloge de l’amour, and to a much lesser extent Notre musique, are by far the most present. The studio on screen, the œuvre on the soundtrack? Why did you choose to privilege these two films?

Éloge de l’amour is the film that sets everything in motion, he told us – in better words than we can find – the one that led him to Le Livre d’image. Humbly, that is where we started again, with just a few touches that suddenly seemed to harmonise intimately with the time, the place, the solitude and the work.
Then Notre musique too marked the beginning of something, and fragments of it resurfaced in Drôles de guerres. And magically, its final “paradise” sequence married – with a surprising, striking, fascinating grace – the paradise of vivid colours pinned to his wall.

A great softness emanates from the film – from the continuous movement of the image, but also from the choice of sound excerpts. A gentleness and calm that are not those of solemnity or mourning. Is this connected to an idea that recurs more than once: that there may be childhood and old age, but no such thing as adulthood? Is this the image of JLG you wish to retain and share?

Yes – a camera with gentle movements, like our own steps in his home.
Childhood and old age? No, I never saw him as old… quite the contrary! Only the body was. 

Cyril Neyrat

Technical sheet

  • Subtitles:
    English
  • Script:
    Fabrice Aragno
  • Photography:
    Fabrice Aragno
  • Editing:
    Fabrice Aragno
  • Sound:
    François Musy
  • Production:
    Fabrice Aragno (Casa Azul Films)
  • Contact:
    Fabrice Aragno (Casa Azul Films)