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Entre Tokyo et Paris, Frédéric Laffont dresse le portrait de Fumiko, l'une des chefs de cuisine les plus doués de sa génération. C'est un film sur la création, la quête de perfection, le plaisir et le goût. Tokyo Blues & Candied Sushi A film by Frédéric Laffont Edited by Mathilde Muyard Duration: 1h18' © Interscoop, 2004 Through the portrait of Fumiko, one of the most gifted chefs of her generation, this is a film about creativity, the quest for perfection, pleasure, and taste. Set between Tokyo and Paris, it's the quest of an artist searching for her path.

Découvrez les films de Frédéric Laffont. Camera Magica est une maison de production de films documentaires. En artisan. Avec le souci du bel ouvrage. Imagine, tell and sew unique stories. As a craftsman. With a concern for beautiful work. Films and books, to promote a certain idea of humanity. à propos. Merry-go-round rides then world tours. Around sixty films: major reports and documentaries. Albert Londres Prize for a report on the war in Lebanon. A collection of short films for Hermès. A feature film shot in Ukraine since 2022. Literary essays written in Paris, Jerusalem, Kigali and Kabul too. Frédéric Laffont A rare filmmaker. Le Nouvel Obs. Selected filmography Nous, l’Ukraine 2025, long-métrage cinéma. Empreintes sur le monde 2025, Collection d'Hermès de courts-métrages. La vie devant nous France, 2022. FIPADOC 2022. Couleur café Inde, 2019. Les Enchanteurs Belgique, 2017. Étoile SCAM. Cowboys don’t cry Texas, 2015. Mesure et démesure Jura suisse, 2014. Liban, des guerres et des hommes (série 3 x 52’) FIPA & Étoile SCAM, 2014. Dans les bottes de Clint Texas, Étoile SCAM 2013. Les mains d’Hermès France, 2011. 1$ pour une vie Burkina, Mali, Inde, USA, 2009. FIPA 2010. Voyage au centre de la Bibliothèque Paris, 2007. 1001 jours Israël-Palestine, Étoile SCAM 2007. TOKYO BLUES & SUSHIS CONFITS Japon, 2004. Poussières de Paix Israël-Palestine, Prix Festival d’Angers 2002. Secrets de cuisine de l’Ambroisie France, 2001. Fleur de Cannelle Chili, 2000. Liban, voyages, voyages Grand Prix Ptolémée de Géographie, 2000. Banlieue Olympique France, 1998. planète CNN USA, Bosnie, Jérusalem, 1997. Fugues américaines Louisiane, Prix Saulieu 1996. Anges et démons de la cité France, 1994. CAPTAIN W, ASTRONAUTE USA, 1994. Le Menu France, 1994. Maudits soient les yeux fermés Rwanda, 1996. Grand Prix Angers et Écran d’Or Montréal 1996. Dieu, poste restante, Jerusalem Jérusalem, 1993. A quoi rêvent les boxeurs ? France, Grand Prix Palerme, 1994. Ramdam sur terre et mer France, 1993. Entracte au Château de Prague République tchèque, 1993. Beyrouth,des balles et des ballons Nymphe d’Or & Prix critique internationale Festival Monte-Carlo, 1993. Poussières de Guerre Afghanistan, URSS. Grand Prix Angers & Festival Rueil, 1990. À corps, À cœur, À cris Monde, 20 ans MSF, 1992. Prix Spécial Festival Int. Monte-Carlo, 1992. Autofolies France, 1990. L’opium du peuple URSS, 1988. Colères noires de Soweto Afrique du Sud, 1988. On s’aimait tant à Santiago Chili, 1988. Pas de larmes pour Mao Chine, Meilleur Reporter d’Image, 1987. La guerre des nerfs Liban, P rix Albert Londres, 1987. La mer arrive encore au Liban Prix du jury Festival Monte-Carlo, 1987. Shanghai New Look Chine, 1985. His documentaries have the strange beauty of Pasolini's early films. L'Express films. movies. livres books. Au 24 faubourg Saint-Honoré éditions de L'Iconoclaste, 2024 Une vie par le menu Prix Passion Littérature éditions de L'Iconoclaste, 2022 Mille et un jours, mille et une nuits éditions Arléa, 2002 à propos du conflit isréalo-palestinien. Maudits soient les yeux fermés édition Lattès, 1995 à propos du génocide au Rwanda Poussières de guerre éditions Robert Laffont, 1990 Sur la guerre URSS-Afghanistan Co-écrit avec Christophe de Ponfilly contact. contact. Votre nom Votre e-mail Votre numéro de téléphone Écrivez votre message ici Envoyer Merci pour votre message

"Nous sommes en août 1994. Frédéric Laffont, journaliste et réalisateur, vient d'arriver à Kigali pour filmer durant un an la mise en place puis les audiences de cette cour extraordinaire. Maudits soient les yeux fermés... est bien un film sur l'histoire. Mais, précieusement, pour la première fois il raconte l'impalpable : comment on oublie." Damn closed eyes Grand Prix Angers, Golden Screen Montreal 1996 Life: "A stone in the pond, with infinite shock waves." Le Monde: "Frédéric Laffont's film is not a documentary on the massacres: we will not see an image of the atrocities committed between April and July 1994, according to a premeditated plan at the state level; nor will we hear the testimonies of the survivors. Cursed Be Your Eyes Closed describes the isolated, impossible struggle of three individuals determined to gather the facts and testimonies so that history is not rewritten and justice is done. They encounter only obstacles and threats. Laffont's film is like a trace of the silence that spreads. Reread Primo Levi." Libération: "It's August 1994. Frédéric Laffont, journalist and director, has just arrived in Kigali to spend a year filming the establishment and then the hearings of this extraordinary court. "I wanted to document the writing of history. In 1945, the Nuremberg trials and its -Never Again- were the foundations of our current world." As the end credits roll, the camera suddenly returns to Rwanda, to the scene of the massacre, skulls, bones, suitcases scattered about. A shock. In an hour and a half, we already had lost all memory. Cursed Be Your Closed Eyes... is indeed a film about history. But, preciously, for the first time, he tells the intangible: how we forget." English version: CURSED BE CLOSED EYES Duration: 45' © Interscoop, BBC, 1996 A film by Frédéric Laffont Edited by Jean-François Giré Duration: 54' © Interscoop, La Sept/Arte, 1995 Rwanda, 1994. A genocide. How can we write history and demand justice? Three individuals seeking justice in Rwanda By CORINE LESNES Le Monde, December 3, 1995, at 12:00 a.m. Director of the Interscoop agency, winner of the Albert Londres Prize, author of numerous highly acclaimed reports, Frédéric Laffont could probably not avoid this unprecedented event in the history of the second half of the twentieth century: a genocide recognized by the UN. He tackled the subject in August 1994 and worked on it for over a year. A year of traveling back and forth between Paris and Kigali. Plus a few additional trips: The Hague (where the international tribunal is based), New York (for a meeting at the UN's 3341 office), Brussels (where Hutu opponents and those disappointed with the new Tutsi regime rub shoulders). The result: Rwanda, Maudits soient les yeux fermés (Rwanda, Damn the Closed Eyes), an 80-minute documentary co-produced by La Sept, Arte, and Interscoop; and a book, Maudits soient les yeux fermés, written in collaboration with Françoise Bouchet-Saulnier and published by J.-C. Lattès-Arte. The director chose to focus his work on the theme of justice by following three characters, all equally committed to ensuring that history is not diluted by the pragmatism of reconciliation, but who we see gradually throwing in the towel. The first, Joseph Matata, a Hutu human rights activist, was abroad when the genocide began. From Kigali to Brussels, where he ended up taking refuge to write a play about the “Rwandan tragedy” (both past and today), we see him typing on his old typewriter the testimonies of the survivors he interviewed in the hills. He does this work as much for himself as for history, because the director makes no secret of the fact that these testimonies have no legal value for the official authorities. The second is a Hutu, a former rebel who fought against the Rwandan government. In his imposed ordeal, Frédéric Laffont was able to choose the tone and music that suit the images of piled-up human remains, without which there seems to be no vision of Rwanda anymore. But his most powerful images show the living, the prisoners, also piled up by the thousands in their cells. They appear almost as an afterthought in the film, as if the director himself had been a little afraid of them. Yet they are the most striking, the most disturbing, and some Rwandans who attended the preview screening in Paris were not mistaken. They immediately denounced it as a “political” maneuver, repeating that the fate of the prisoners, alleged perpetrators of the genocide, could not be equated with that of the Tutsis and progressive Hutus in 1994. Nevertheless. We reported here in January on the overcrowded prisons and the harrowing visit. They had 14,000 inmates. Today, there are 59,000. We wondered how they could all lie down at the same time. Today, they are literally walking all over each other. Frédéric Laffont's camera follows them at ground level, where their feet are tangled together. Among the most common diseases, in addition to dysentery, are now lower limb injuries and necrosis of the toes. Unable to rest regularly, the inmates' legs suffer from edema, which sometimes requires amputation. Fifteen months after the first arrests, no detainees have been tried. Although the UN and the ICRC have set up new detention centers, no detainees have yet been transferred there. According to Doctors Without Borders, the number of human bites is also increasing in these places, not to mention the concentration camps that prisons have become.

"Réalisé avec subtilité et humour, Anges et démons porte sur la banlieue et les gens qui y vivent un regard juste, généreux et sans pitié." Angels and Demons of the City L’Express: "This documentary has the strange beauty of Pasolini's early films. Frédéric Laffont's film is a masterpiece that we would dream of seeing in the cinema. There are no clichés here. Frédéric Laffont proves that there's no such thing as a hackneyed subject when it comes to passion." Le Point: "The author, Frédéric Laffont, has written a scathing documentary. It's a slap in the face to good feelings and security prejudices." Le Monde : "Filmed in La Mare Rouge, a aera with a bad reputation in the northern suburbs of Le Havre, this documentary is an extraordinary chronicle of the neighbourhood. Frédéric Laffont spent two months there. He was able to gain the trust of the young people who, in return, gave him powerful testimonies. With subtlety and humour, Anges et démons takes a fair, generous and merciless look at the suburbs and the people who live there." Télérama: "There's a sense of hindsight in this frank look at successes and failures with a sensitive eye. And the film comes across as a tale of ordinary life, sincere, fair and deeply touching." Le Monde (bis) : "A film without demagoguery, poignant and beautiful, not made to inspire pity. A lesson in humility." Libération : "It could be a western or a gangster film, with rival gangs and sacred places of confrontation. Frédéric Laffont immersed himself for seven weeks in Le Havre to bring back a story where reality vies with the novel. The air of the suburbs as rarely seen... Raw, lived, and far from sad." Editing : Jean-François Giré Length: 1h31' © Interscoop, France 3, 1994 Le Havre, cités de la Mare Rouge, Auchan, angels and demons...

“Le réalisateur Frédéric Laffont connaît Clint depuis six ans. Avec lui, il a parcouru des milliers de kilomètres en voiture. De ce compagnonnage, il nous rapporte un documentaire émouvant sur un père et ses trois fils qui, soudés comme un seul homme, tentent de prendre leur revanche sur la misère. Il filme une Amérique profonde qui en bave, et la vie d'un jeune Texan - loin du mythe du cow-boy - qui a presque tout perdu pour une finale, gage d'un futur meilleur.” Cowboys Don't Cry Le Monde: “Director Frédéric Laffont has known Clint for six years. He has traveled thousands of kilometers with him by car. From this companionship, he brings us a moving documentary about a father and his three sons who, united as one, try to take their revenge on misery. He films a deep America that is suffering, and the life of a young Texan - far from the myth of the cowboy - who has lost almost everything (his fiancée, his health and his last dollars), for a final, a pledge of a better future.” A film by Frédéric Laffont Edited by Catherine Rascon Duration: 1h28' © Camera Magica, Les Films d'ici - 2014 Entretien avec Frédéric Laffont, par Billy the Kid. Billy the Kid : « Le père, le fils, et le Saint-Esprit ? » Les rêves du père dans le corps du fils. C’est une définition de la tragédie pour les Grecs. Chez les Cannon, heureusement, pour survivre aux épreuves, on rit de tout. Le père évoque la chute d’Icare. Il sait qu’on peut mourir de trop vouloir s’approcher du soleil, mais il ne cesse de vouloir le toucher... Clint, lui, ressemble au Sisyphe d’Homère qui fait rouler, indéfiniment, son énorme pierre jusqu’au sommet inaccessible de la montagne. Clint va de rodéo en rodéo. Il n’est pas esclave du rêve de son père. Il s’en libère peu à peu... Pas de Saint-Esprit mais beaucoup de transcendance ! Un western du XXIème siècle ? Les Cannon ne connaissent ni les classiques du western et ni ceux de la littérature américaine mais leur imaginaire a été façonné par le mythe de l’Ouest. Ils ont le sentiment d’être les derniers des hommes libres mais que leur espace ne cesse de rétrécir. C’est l’un des grands thèmes du western. Comme dit Clint : “Le monde entier sait que l’Amérique a été faite par les cow-boys. On ne va pas la laisser mourir.” Être un cow-boy en ce début du XXIème siècle, c’est affronter les miles dans une voiture climatisée, la solitude et l’ennui sur des parkings, mais c’est aussi, pour Clint, défendre une certaine idée de la patrie. Ils croient au rêve américain, ils l’incarnent. À quoi rêvent les cowboys ? "Au bout de la route, il y a un ranch. Notre ranch." C’est la dernière réplique de Clark Gable à Marilyn Monroe dans Les Misfits de Jonh Houston(1961). Plus de 50 ans plus tard, ce rêve n’a pas pris une ride. Dans l’imaginaire des cow-boys, le ranch se définit par l’absence de voisin, une terre vierge comme l’était l’Ouest dans la mythologie hollywoodienne. Vivre loin de la ville, près de la nature, entre cow-boys, avec des chiens, des chevaux et des vaches aussi... Un monde aussi mythique qu’irréel où les cow-boys pourront vivre en accord avec leurs valeurs. Quelles sont ces valeurs ? Valeurs d’entraide, code d’honneur et de politesse. Comme dans les films ! On aide toujours son prochain, surtout si c’est un cowboy. On héberge chez soi, on nourrit, on trouve du boulot à un concurrent blessé ou fauché qui a échoué au Texas... On s’arrête de nuit pour protéger une femme seule tombée en panne sur une route déserte du Névada. On donne ses derniers dollars à plus pauvre que soi. Jamais pendant toutes ces années de tournage je n’ai pris les Cannon à défaut sur leurs valeurs chevaleresques. Quelle est leur vision du monde ? Binaire. Le Bien, le mal. Good ou bad guy. Avec ou contre nous. Clint était déçu de découvrir le New York Times sur la banquette de ma voiture. Pour lui, c’est un peu la Pravda. Les Cannon ne lisent pas le très conservateur Houston Chronicle, ils trouvent qu’il y a trop de mauvaises nouvelles... Pour le charrier, j’ai demandé à Clint pourquoi il ne votait pas pour Obama ? Il était soufflé. C’était tellement évident pour lui... Il a rassemblé ses esprits et il m’a dit : "Est-ce qu’un type qui est contre le port des armes peut être bon ? " . Cow-boy, non ? On peut parler d’idéologie et de vision du monde. D’ailleurs, la plupart des officiers des forces spéciales américaines sont des Texans, comme les Cannon... Quid du rêve américain ? Plus il semble s’éteindre, plus il continue de briller. Les pères ratent, les fils prennent le relai et, comme Clint, gagnent, parfois. Gagner ou perdre n’est pas le plus important. Il faut y croire, en être, participer à cette course folle au succès rédempteur qui fracasse chaque saison de rodéo des centaines de jeunes blancs, pauvres et réac que sont les cowboys de ce début de XXIème siècle... C’est un rêve puissant. Il ne fascine plus en dehors des Etats-Unis, mais il reste un moteur essentiel de la vie politique. Obama, Clinton, Reagan (le héros des Cannon), Bush, Trump : tous ne cessent de s’y référer. L’Amérique des Canon n’est plus celle de John Houston ? Comme disent les cowboys : "There’s always another rodéo". THE END

"C’est par la plume poétique de Frédéric Laffont que l’on découvre l’histoire d’un des personnages les plus illustres, mais certainement aussi l’un des plus discrets de la gastronomie française. L’histoire d’un homme singulier, et la vie d’un grand chef dont les mots sont si rares que l’on s’en délecte ici. " A life by the menu Editions L'Iconoclaste, 2021 Passion Literature Prize, 2022 The child was wild, the man embodies the excellence of French gastronomy. At L'Ambroisie, his three-Michelin-starred restaurant for over thirty years, Bernard Pacaud refines his legendary dishes for lunch and dinner. A truffle turnover with a good mood, a half-mourning Bresse chicken, a thin shortbread tart with bitter cocoa... Like the mushrooms he cherishes, the chef prefers shadow to light. For ten years, Frédéric Laffont has gathered his rare words and, with a chiseled style, recreates a destiny, encounters with extraordinary beings, an endless quest for perfection. A life, a century of culinary history, where we meet Mère Brazier, Jacques Lacan, Barak Obama, François Truffaut, Calamity Jane and the Absente. Libération : “An intense biography. A deeply moving account, written by Frédéric Laffont. The intense writing style of this renowned reporter and documentary filmmaker, winner of the 1987 Albert Londres Prize for his coverage of the war in Lebanon, reflects his close friendship with the chef, whom he has known for thirty years.” Le Figaro : “A remarkable biography. This book is unlike the usual culinary hagiographies; the author addresses his subject as if revealing his own story to him in order to soften the painful moments, the unknown father, the overly absent mother.” France Inter, Nicolas Demorand : “This is the biography of a modest man who shuns the limelight. His cuisine speaks for him. Obsessive work. Asceticism. Silence. A poem.” Sud Radio : « Excellent! » Politis : “An original literary form to paint the portrait of an outstanding chef. The quintessence of the culinary arts.” Télérama : “Let's taste this book!” Bottin Gourmand : "A remarkable book that stands out from everything we know about culinary literature." L’Opinion : "A book that left me breathless, which I read in one sitting, thinking on almost every page how lucky I am to know Danièle and him a little, and to love them. I believe Honoré Balzac wrote, ‘We don't like something a little or a lot. We either like it or we don't.’ I like it." Gilles Pudlowski : “An ode to Bernard Pacaud. A brilliant tribute to one of the great chefs of his time.” Gastronomie : "A favorite. Frédéric Laffont's poetic pen reveals the story of one of the most illustrious, but certainly also one of the most discreet figures in French gastronomy. The story of a singular man, and the life of a great chef whose words are so rare that we revel in them here." L’Hôtellerie : “A powerful and moving story right up to the last line.”

"Le magnifique travail de Frédéric Laffont sur l’interminable guerre du Liban (1975-1990) nous permet de regarder un documentaire hors du commun. Il fera date. Laffont lui a consacré plusieurs années de sa vie. Le film en trois parties qui en résulte ne ressemble à aucun autre. Il prouve que la télévision peut montrer l’invisible. (…) J’y vois la réussite prodigieuse de ce film." Le Nouvel Observateur Lebanon, wars and men FIPA and SCAM Star 2014 TéléObs : “Un cinéaste rare”. Le Nouvel Observateur : "Le magnifique travail de Frédéric Laffont sur l’interminable guerre du Liban (1975-1990) nous permet de regarder un documentaire hors du commun. Il fera date. Laffont lui a consacré plusieurs années de sa vie. Le film en trois parties qui en résulte ne ressemble à aucun autre. Il prouve que la télévision peut montrer l’invisible. (…) C’est cet invisible là que Laffont est parvenu à saisir, à filmer, à nous faire toucher du doigt. J’y vois la réussite prodigieuse de ce film." Télé Star : "Émouvant et fascinant." Le Monde : "Un film remarquable qui plonge au plus intime et où se lit tout l’attachement humaniste d’un homme pour un pays usé par des années de déchirures meurtrières." AFP : "Un brillant documentaire". Le Pélerin : "Rompu au Proche-Orient, Frédéric Laffont a écarté hommes politiques et spécialistes pour privilégier la parole “ordinaire”, l’humain. Un grand documentaire." La Croix : "Pendant trois ans, Frédéric Laffont a recueilli la mémoire des Libanais. Sa remarquable série documentaire se veut un message de paix et d’espoir. Le souci de rendre aux Libanais la parole qui leur a été confisquée est au cœur de la série documentaire en trois volets de Frédéric Laffont. Sans analyse ni commentaire en voix off, cette mosaïque d’un peuple déchiré par la guerre acquiert une dimension universelle." Ouest-France : “Voilà un grand film, sur le fond et la forme. Pas le récit chronologique du Liban depuis 1975, mais le regard de chrétiens, musulmans, libraire, chauffeur de taxi, homme d’affaires…” Télérama, à propos du troisième épisode : “Frédéric Laffont clôt sa fresque libanaise en récoltant toujours ces fragments subjectifs, qui dialoguent pour esquisser une Histoire encore refusée par l’Etat. Cet ultime volet est d’une incroyable force, véritable œuvre de paix où ceux qui ont tenu les armes, qu’ils soient combattant palestinien, milicien chiite ou dignitaire des Forces libanaises, crient l’inutilité de la guerre. Et reconnaissent tous avoir perdu.” Films by Frédéric Laffont Edited by Catherine Rascon length: 3 X 52' © Artline films, Camera Magica, INA, 2012 LEBANON OF WARS AND MEN 1/3 EPISODE 1. 1975 - 1982 This first chapter covers a period of seven years of successive wars, from April 1975 to the bombing of Beirut by the Israeli army in 1982. A collection of testimonies composes the film, like a fragmented mosaic revealing the complexity of the conflict. LEBANON OF WARS AND MEN 2/3 EPISODE 2. 1982-1990 This second episode focuses on the hardest period of the successive conflicts that ravaged Lebanon, from the invasion of Beirut by the Israeli army in 1982 to an end-of-war agreement signed in 1989. The testimonies are concentrated in particular around the horror of the fratricidal fighting. LEBANON OF WARS AND MEN 3/3 EPISODE 3. 1990-2012 This final chapter is devoted to the period of reconstruction and fragile peace, between 1990 and 2012. The scars of war are still clearly visible.

Un documentaire de Frédéric Laffont sur l'initiative de l'ONG Naandi (Inde) qui a mis au point « La méthode Araku », une approche intégrée pour agir conjointement sur l’agriculture, l’éducation et le lien social. La première boutique « Araku Coffee » a ouvert à Paris début 2017. Araku Coffee “After two days of endless travel, the end of the road feels like the end of the world, just one more... Flags with the sickle and hammer of the Maoist guerrillas fly from some of the rooftops of these villages cut off from the world and the century. of these villages cut off from the world and the century. Slow climb up the mountain to the coffee plantations. The village chief leads the way for our little party and quickly stops in front of a “magnificent” bear turd, shiny and fresh. Our paths have just crossed. The New Zealand agronomist is worried. The village chief arms himself with a stick, and we resume our our walk. Already 1500 meters and still climbing. The light camera quickly gains weight with the altitude. The forest is dense and powerful. We sometimes have to crawl under the coffee trees. I think silently that I might come face to face with the bear. I keep quiet. The agronomist expresses the same concern aloud. The village chief is reassuring, raising his derisory stick and speaking in Telugu: “Thanks to our work, the forest is coming back. The bears are back. You mustn't walk around here after 5pm. In the morning, between 5am and 9am, it's forbidden to villagers.” It's 9:20, and I hope the bear's watch is on time. A day's walk. First shots. Everything is more beautiful, more complex and rougher than I imagined. I'm received like a prince. For dinner: fatty rice and two bananas. A trickle of 4G from time to time, thanks to my Indian friends' cell phones. The Long Walk will resume tomorrow under the coffee trees, without Mao! The night is cool and I'm off to find my sleeping bag.” Frédéric English version Editing: Barbara Bossuet Length: 7' © Livelihoods Funds, Camera Magica, 2020 The Adivasi tribes of the Andra Pradesh region are among the poorest communities in India. The Indian NGO Naandi has developed “The Araku Method”, an integrated approach to joint action on agriculture, education and social ties. The Adivasi have been able to diversify their crops with 18 varieties of fruit trees to boost their food security and generate new income from the sale of surpluses. With millions of coffee trees replanted, they produce high-quality coffee using organic methods. The first “Araku Coffee” store opened in Paris in early 2017.

"Frédéric Laffont a pieusement recueilli ce qu’il appelle des « poussières de paix », petites histoires douces-amères qui font croire le temps du récit que tout n’est pas définitivement saccagé sur cette terre appelée «Sainte »." A Thousand and One Days, A Thousand and One Nights Arléa Editions, 2004 Reading by Rachida Brakni at the Comédie-Française What can I tell you? The stone, the chariot, the olive trees that are being cut down? Of course I will tell you about it... I will also tell you stories, faces and hope: a thousand and one paths that will lead to peace. A day. The night shines for a moment, then it is day again. Le Figaro: "Frédéric Laffont, a great reporter accustomed to conflicts, has taken a step aside. He thus embodies this "peace camp" that is said to be bloodless. It gives a lesson in humanity rather than a lesson in history. France Inter, L'Humeur Vagabonde: "A particularly hot topic, about which it is very difficult to make other voices heard than those of hateful certainties and partisan simplifications (…). Frédéric Laffont has piously collected what he calls "peace dust," little stories bittersweet notes that make us believe, for the duration of the story, that not everything is definitively destroyed on this land called "Holy". A poetic story, a precise document, a dreamlike fiction, in any case an unclassifiable film and book. Télérama: “Frédéric Laffont, author of remarkable documentaries, is a seasoned storyteller (…). These war diaries, written in the first person and spoken by a woman's voice, are a sensitive hymn to survival and peace. They take the back roads, they listen to people, they look for reasons to hope. The best way to walk, in short.

Médecins Sans Frontières, 20 ans déjà en 1991. Avec la voix de Michel Piccoli. Heart to heart, Body to body, Cry to heart Prix au Festival International de Monte-Carlo, 1992 Le Monde: "Christophe de Ponfilly and Frédéric Laffont's documentary is exemplary in that it reveals humanitarian organisation in all its complexity and ambiguity, without imposing a particular point of view and without breaking the essential dream dimension. This is their thirty-fifth film, and their most important since Poussières de guerre (about the war in Afghanistan). In 1990, after six months of preparation, Frédéric Laffont left Paris for Cambodia and Christophe de Ponfilly flew to Sri-Lanka. Twenty months later and twelve countries later, they returned with one hundred and twenty hours of film, which had to be reduced to three. Their credo: take as much time as you need. Let people express themselves by filming their silences as much as their words," says Frédéric Laffont. 'But after three weeks of filming, sometimes there are only thirty seconds left!' A 3x52 minutes collection Films co-written and co-directed by Frédéric Laffont and Christophe de Ponfilly Editing: Jean-François Giré Length: 1h46' © FR3, Gaumont Robur Télévision Multimédia, BRT, TSR, Interscoop, 1991 English version: FRONT LINE DOCTORS Médecins Sans Frontières, already 20 years old in 1991. AT THE HEART: commitment. IN THE BODY: the field. IN CRISIS: questions and outrage. With the voice of Michel Piccoli. I remember quoting Bergson at the top of the production schedule: 'Act as a man of thought. Think as a man of action.' Two years of filming, followed by a long personal partnership with MSF. I became a member of the Board of Directors for six years. I met some of the best people of my life.