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Since the death of Amalia Rodriguez, Mísia is universally acknowledged to be the greatest living fado-singer. This film weaves an intimate portrait of the singer and her songs.

Mísia was born in Porto to a Catalan mother and a Portuguese father. She began to sing fado in the 1990s, and soon started to look for ways of injecting new life into this typically Portuguese form of expression, setting the texts of the greatest contemporary Portuguese authors, including the poet Fernando Pessoa, to music. Her outstanding voice and rigorous, exacting approach have made her the uncontested queen of contemporary fado.
Entirely shot on location in Lisbon, this documentary takes us to the Meccas of Lisbon's fado scene - the Clube de fado, the Tasca do Carera and the splendid palace of the Marquis de Fronteira, where Mísia and her backing musicians perform the most beautiful songs in her repertoire.
In Mísia's own words, "Saudade is not just the fragrance of things past: it is also the presence of things which were so alive that they can never die."

"Mr. Brown" is the portrait of one of the 20th century's greatest artists, Black American singer, James Brown, who made it to the summit of his art despite having being born black and poor in 1930s America.

Through musical archive footage and various encounters, "Mr Brown" recalls the whole of James Brown's life from 1933 to 2006, concentrating in particular on his years of combat and glory between 1955 and 1971.

"Mr. Brown" also recounts the world in which the artist evolved, referring to his visit to American troops in 1968 when they were at war in Vietnam. More general, sociological archive footage tells the story of the Black American community in a very turbulent period, from the beginning of the 1950s to the end of the 1960s.
 

In his infectiously exuberant new musical, Jérôme Savary takes us on a voyage round the life of percussionist Chano Pozo, who rose to fame playing alongside the American jazz greats.

The show is acted and sung in Spanish, amidst a riot of colour, feathers and sequins, to the rhythm and melody of a carefully-chosen repertoire of Afro-Cuban music (aficionados will recognise Manteca, Cubana Be and Cubana Bop) and the stage is shared by thirty or so Cuban dancers, vocalists and musicians, including the sizzling female dance troupe "Les Mulatresses du Feu".
The narrative revolves around a black American saxophonist who turns out to be Charlie Parker's grandson (played by Allen Hoist). He travels to Havana to try and recapture Chano's spirit, to "feel the vibe". Through the people he encounters, Chano gradually comes alive again. In a series of six colourful tableaux, we watch him play and dance and finally lament his death. The script takes a leap in time here, a stitch in space there - shifting from present-day Havana to 1940s' Cuba and Harlem and back again, with an unexpected detour via a club in deepest Alaska - and the show pounds along at a breakneck pace, thanks to an outstanding collection of musicians including conga-drummer Miguel Anga Diaz, veteran Wilfred Fernando Vicente, alias Chongito, who used to play with Dizzy Gillespie, vocalist Aramis Galindo Sotomayor, and the thoroughly wonderful 86-year-old Juana "La Cubana" Bacallao.

22 portraits of World Music's biggest stars.

Each portrait follows a musician on tour, as well as on his home ground.

Louis Armstrong is Chantz's (a 12-year-old Afro-American) and his mother's preferred role-model - an emblem of Black success. So it's settled: Chantz is to be a musician, dancer and performer! He also happens to be exceptionally gifted...

Chantz is a 12-year-old Afro-American. His parents have split up and he comes from a socially-disadvantaged community in Mississippi. Scarcely the most promising start in life. But Chantz is the embodiment of his mother's hopes and dreams.
The director of the film spent three years shadowing Chantz and his mother Glinda - a slightly disturbing couple bound together by love and a shared determination to make their dreams come true.
They lead an unsettled life, divided between the Los Angeles motel where they live and the street where Chantz gives his performances (their main source of income). But there are milestones along the way - classes at the showbiz school Chantz enrols at, occasional meetings with professional musicians in jazz clubs, engagements on shows, a visit to Glinda's family in Mississippi, the first casting session for a film about Armstrong, the beginnings of Chantz's first romantic involvement, and so on.
Gradually, Chantz takes charge of his own image, disentangling his own plans from his mother's fantasies, discovering his musical and showbiz preferences, and working out what he wants from a future in which he can be himself, not just a reincarnation of Louis Armstrong.

Monique Brandily, doctorate in ethnomusicology, has decided to track down a song she recorded in the Sahara forty years ago. She is accompanied on her quest by the nomads of the Sahara, travelling the Tenere, Air and Djado caravan routes in search of adventure, knowledge and a dream.

She works for the CNRS (French National Centre for Scientific Research) and is based at the Laboratory of Ethnomusicology of the Museum of Man, in Paris. Since her first field-trip to Africa in 1961, she has led numerous research expeditions to countries such as Chad, Libya, Niger and Cameroon.
Over the years, Brandily has become a custodian of the collective memory of all the peoples she has spent time with. She is almost like one of their hereditary bards - a combination of storyteller, genealogist, historian, singer and musician - and she is the only person now capable of explaining the significance of the rhythms, melodies and songs of the desert.
Today, Brandily has decided to make yet another journey into the desert of deserts, in the hope of tracking down a song she recorded in the Sahara forty years ago and has never heard since. She is accompanied on her quest by the nomads of the Sahara - the Peul, Tuareg and Tubu - travelling the Tenere, Air and Djado caravan routes in search of adventure, knowledge and a dream.

This unconventional vocal art with ancient origins linked to the hip-hop scene of New York in the 80’s has exploded in recent years, blooming into a staggering cultural kaleidoscope.

Thousands of self-taught human beatboxers, of various origins, are constantly inventing new sounds.
The documentary takes us around the planet with international beatbox stars from France, Germany and the US. We will follow legends such as Sly Johnson in France, Doug E. Fresh, Kenny Muhammad and Rahzel in New York, Babeli in Germany and also current French champions such as BMG, Flashbox and Alem getting ready for Berlin’s worldwide championship, on May 2015.

Sverrir Gudjonsson is one of the greatest counter-tenors of our time. Stomu Yamashta descends from a long line of Kyoto artists, and has decided to make stones and rocks sing. They have created a musical project together.

This documentary gives us an insight into the two musicians' artistic friendship during the development of their work on the theme of The Creation. Stomu composes a work that Sverrir sings, taken from 3 major texts from Mediterranean, Western and Japanese culture: the first chapter of Genesis in Hebrew, an extract from the Saga in Icelandic and a poem by Ikkyû (1394-1481), founding poet of the Japanese arts in the 13th century.

For Stomu and Sverrir, the work is a musical and spiritual bridge between Japan and Europe. As their music takes form, we discover the outstanding worlds of our two artists - their childhoods, their artistic careers, their attachment to their culture and their faith.

The film takes us to Iceland and to Japan, where we follow their work, including rehearsals, in preparation of the worldwide premiere of their musical creation at Notre Dame de Paris in Autumn 2009. The journey takes us through the mystical worlds of the Mediterranean, Iceland and Japan, where Genesis, the Saga and the Haiku resonate in osmosis.

2011 : Best European Film at the European Spiritual Film Festival.

The documentary presents a wide and diverse range of the flourishing Yiddish musical repertoire during the concert hosted at the Résidence Palace in Brussels, sponsored by Myriam Fuks, with Karsten Troyke, Shura Lipovsky and the KlezRoym.

Love songs, lullabies, praises to God, guinguette songs.
The sacred and the secular, melancholy and joy, irony, humour and sense of tragedy can often coexist within the same Yiddish song.
In March 2005, a number of artists gathered in Brussels for this exceptional evening. These artists, who give us here the opportunity to familiarize oneself with the Yiddish repertoire, were chosen for their personality and their different approaches to Yiddish songs: Karsten Troyke from Berlin and the Trio Scho from Ukraine (a rediscovered heritage), Shura Lipovsky from Amsterdam (transmission of a culture), Myriam Fuks from Belgium and the KlezRoym from Rome (jazz fusion). Thanks to them, we rediscover a heritage that is still alive and is today a source of inspiration for musicians of many various backgrounds and cultures.

Surprise is in the air at Cannes... Big event : in 1959, Marcel Camus receives the "Palme d'Or" for his movie Black Orpheus.

August 2004, on the deck of the boat crossing the Rio Bay, Tunico Amancio, Professor at the university sets a meeting with Silvio Autuori who was once Marcel Camus' Brazilian assistant.

Enchanted by the rythm of bossa nova and samba, contemporary's like Seu Jorge, Roberto Menescal, Milton Nascimento seek to pay homage. The two men search Rio for the Black Orpheus.

A musical invitation to voyage deep into the Sahara and the Niger River, a voyage across sand and water. Symbiotically, in tune with the world of the greatest musicians and their music, it tells the story of Mali, the Mali of today, land of enchantment.

Although they come from different ethnic groups, these musicians represent the influence of the Sahara on the musical traditions of their people : their coming together in Desert Blues is an event with true political significance for those who are familiar with the tragic events that shook Mali in 1995-1996.
Habib Koité's roots are in the Khassonke culture of western Mali. Born into a Bambara family of griots, he sings the music of his uprooted ancestors, tinted with the blues.
Afel Bocoum's culture is Songhai. Considered the heir to Ali Farka Touré, he reflects in his music the vast horizons, the vibrant colors, the timelessness, the genies of the Niger River. Tartit is an all-female Tuareg group from Timbuktu, the Malian crossroads in the Sahara. Ethnically related to the Berber people and geographically interconnected with the other ethnic groups in Mali, they lend their voices to the cause of a surviving culture, in support of peace and reclaimed roots.

This is a musical journey, combining the real and the imaginary, weaving a spell of images and stories that enchants viewers and carry them off into the heart of Malian Africa, into its landscapes, its fantasies, as well as its everyday concerns.

2007 : Prize of Youth Jury - Festival International du Film d'Afrique et des Iles (FIFAI) à La Réunion (France).

In the 1960s, a revolution occurred in the world of film music: the emergence of a generation of composers (Lalo Schifrin, Ennio Morricone, Michel Legrand, John Barry, Quincy Jones) who invented the sound of an era and accompanied the mutations of a new form of cinema.

In the early 90s, when the albums of these musicians became almost impossible to find, a handful of musicians started rediscovering this film music culture. .  Bands like New Order and the Pet Shop Boys dreamt of collaborating with Ennio Morricone. But it was only in the mid-90’s that groups like Portishead or Massive Attack claimed their debt to Lalo Schifrin or John Barry. From then on, trip-hop bands, rappers, DJs, electronic musicians, pop groups ... we proud to claim their affiliation to 1960’s film music.