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Filmographie de Frédéric Laffont : découvrez ses documentaires primés produits avec Camera Magica et d'autres. Frédéric Laffont travels the world with his camera, attentive to silences, to the looks, to the fractures and to the impulses of humanity. movies.

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

"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...

"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.”

Frédéric Laffont suit Le Racing, un club de rugby prestigieux, qui se bat en 2008 pour retrouver le top 14. L'année d'après, le rêve devient réalité. Racing Rugby Racing rugby, season 1 Racing, a prestigious rugby club, is fighting to return to the Top 14. In the locker room of a dream... Duration: 1h30 © SEIP, 2008 Racing rugby, season 2 In the locker room, the dream becomes reality. Duration: 55' © Ovalto, 2009

"Savoureux voyage dans une France du bon goût et du bon sens. A partir du menu d'un grand restaurant parisien, Frédéric Laffont nous entraine dans un tour de France inhabituel. A chaque étape, une rencontre avec un produit, un homme et le lien qui les unit l'un à l'autre. Tous aiment les vraies choses, le vrai goût. Merveilleux rapport à la nature et à une passion." The Menu Libération: "The Menu is a mouth-watering epicurean tour of France. It's a little Babette's Feast that Frédéric Laffont has prepared, seeking out the good men behind the fresh food." Le Monde: "A delicious journey through a France of good taste and common sense. Starting with the menu of a grand Parisian restaurant, the director takes us on an unusual tour of France. At each stop, we encounter a product, a person, and the bond that unites them. They all love real things, real taste. A wonderful connection to nature and a passion. A document that invigorates its man." English version: THE MENU Edited by Jean-François Giré Duration: 59' © France 3, Interscoop, 1994 A gourmet walk through our countryside with exceptional artisans, a menu prepared by chef Bernard Pacaud of L'Ambroisie, one of the best chefs in the world.

Shanghai, 1984. Mon premier "grand reportage". Aucune autorisation de tournage. Mon pote Eric, sinologue, pour guide. Les premiers espaces de liberté post-Mao filmés par Tintin reporter. Shanghai New Look VSD: “China as never seen on TV. Hats off to you guys!” Lucien Bodard, a senior reporter born in China. Duration: 33' © Interscoop, Antenne 2, 1985 A film by Frédéric Laffont & Eric Schlesser Edited by Jean-François Giré Shanghai, 1984. My first "big report." A Super 8 camera, a Taiwanese student card purchased for $10 in Hong Kong, and here I am, Chinese, in a country that's half-opening its doors. No filming permits. My friend Eric, a sinologist, as my guide. The first post-Mao spaces of freedom filmed by Tintin Reporter.

"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.

"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.

Un film documentaire de Frédéric Laffont pour le cinéma. Face à l’ennemi Poutine pour qui les Ukrainiens n’auraient ni identité ni culture, tous se battent. Des enfants et les grands-mères aussi. Nos proches, nos voisins. Nous, l’Ukraine. Nous, l’Europe. We, Ukraine feature documentary, 2025 A documentary film for the cinema. Three years of work since the Russian invasion of 2022. Think film's impact campaign, We Ukraine, for concrete European support for Ukrainian culture. Coming soon... To resist Putin's war, culture is also a front line. Under the relentless threat of Russian bombardment, people dance and sing in defiance of the alarms, play theatre in a bomb shelter, publish books despite paper shortages, paint street art near the front, record music, open exhibitions in a closed museum, save endangered treasures, sew endless camouflage in the cellar, and behind the scenes, constantly raise money to provide drones and survival kits for soldiers... Faced with an enemy for whom Ukrainians have neither identity nor culture, everyone is fighting. Children and grandmothers too. Our loved ones, our neighbours. We, Ukraine. We, Europe. A film by Frédéric Laffont Produced by Dominique Barneaud Editing: Barbara Bossuet Catherine Rascon Length: 1h23' © Bellota Films, Camera Magica, 2025