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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.

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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

Rwanda. Des mois après les massacres, l’herbe a repoussé. Sur un charnier, les restes d’un écolier reposent près de son manuel de lecture resté ouvert sur un extrait du Roman de Renart : "Maudits soient les yeux qui se ferment quand ils doivent rester ouverts..." Damn closed eyes Editions JC Lattès & Arte, 1995 Co-written with Françoise Bouchet-Saulnier, doctor of law, legal officer of Doctors Without Borders. Rwanda. Months after the massacres, the grass has grown back. In a mass grave, the remains of a schoolboy lie near his reading book, which has been left open to an excerpt from The Romance of Renart: "Cursed be the eyes that close when they should remain open..." Never again! Despite this solemn promise, fifty years after the Nazi death camps, another genocide exterminates human beings for who they are. Their only "fault": being born Tutsi, just as others were born Jewish, Gypsy, or Armenian. Who will bring justice? At mass graves and in international organizations, a litany of empty promises serves as a funeral tribute. Only isolated individuals attempt to establish the facts, to write history. Among these grains of sand supposed to stop the machine of silence: Françoise, Joseph, and François-Xavier. A European lawyer, a Rwandan human rights activist, and the Kigali Public Prosecutor, they recount their quest for justice. This book is the result of a year of commitment and investigation across the world. A reflection forged through contact with the realities of the field and the people. This story resonates far beyond the thousand hills of Rwanda... So that the augury of "Never again" is no longer a lie addressed to future generations. Life: “A stone in the pond, with infinite shock waves.”

Sur les sommets enneigés du Jura suisse, les horlogers sont aujourd’hui le fer de lance d’une industrie fructueuse. Dans les manufactures de Parmigiani, Frédéric Laffont filme au plus près de l’intelligence de la main. Measure and excess A film by Frédéric Laffont Duration: 54' Edited by Catherine Rascon © Sandoz Family Foundation, 2013 The snow-capped peaks of the Swiss Jura and the demands of the hundredth of a millimeter. Once threatened with extinction, watchmakers are today the spearhead of a profitable industry. In the Parmigiani factories, as close as possible to the intelligence of the hand.

Explorez le parcours de Frédéric Laffont, réalisateur primé et fondateur de Camera Magica. Une œuvre documentaire guidée par l’engagement et l’humanité. Founder of Camera Magica, Frédéric Laffont chronicles the world with a handheld camera and an open heart. This page invites you to discover his career, his commitments, and what inspires his documentary filmmaker's perspective. 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 His documentaries have the strange beauty of Pasolini's early films. L'Express 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. Each of these films tells a story, a perspective, a part of truth. Through Camera Magica, Frédéric Laffont continues to capture humanity in its most fragile and luminous form. His career demonstrates a loyalty to commitment, to the right emotion, to a story that moves. And behind each image, always the same intention: to film with the heart.

"Mille et un jours n’est pas un documentaire de plus sur le conflit israélo-palestinien, mais un essai cinématographique original et plein d’intelligence. Entre documentaire et fiction, Frédéric Laffont signe un film plein d’espoir. Un lumineux message de paix." A thousand and one days Etoile SCAM 2007 Le Nouvel Observateur: “A Thousand and One Days is not just another documentary on the Israeli-Palestinian conflict, but an original, intelligent film essay. Another way of telling the story, another way of seeing the conflict. Part documentary, part fiction, Frédéric Laffont's film is full of hope. A luminous message of peace. Synopsis: “Isn't this the best role cinema can play in this conflict? Le Point: “One of our best political documentary filmmakers attempts to ‘un-witch’ the Israeli-Palestinian conflict (...) An atypical, gripping film, to be shown in all schools.” Studio: “A Thousand and One Days is unlike any other documentary. Far from any angelism, this work, both poetic and brutal, deserves your full attention. Fascinating.” Les nouvelles Fiches du cinéma: “F.Laffont strives to render the daily reality of these men and women, without bias. In the name of humanity. A look filled with accuracy, respect and dignity.” Press review A film by Frédéric Laffont Editing: Guy Lecorne Lenght: 1h18' © Albert films, Archipel 35, France 2 Cinéma, 2003 What can I tell you? The stone, the chariot, the olive trees being felled? Of course I'll tell you... I'll also tell you stories, faces and hope: a thousand and one paths that will lead to peace. One day. Night shines for a moment, then it's day again.

Un documentaire de Frédéric Laffont. Au plus près des hommes, des Israéliens, des Palestiniens, et parfois de Dieu, par le courrier. God, poste restante, Jerusalem A film by Frédéric Laffont Editing: Jean-François Giré Length: 50' © Interscoop, France 3, Tele-Europe, 1993 La Croix : "Frédéric Laffont's production for Zanzibar is similar to his film "Beyrouth, des balles et des ballons", which won the Golden Nymph at the Monte Carlo Film Festival, with the same sensitive approach to the man thrown into history and the same accuracy of tone in mastering a complex reality." With the postmen of Jerusalem, from one address to another, from one neighbourhood to another, from one world to another. Letters from cousins in America for some, letters from prison for others, love letters too... Some of the letters are addressed directly to ‘God, poste restante, Jerusalem’. Close to people, Israelis, Palestinians, and sometimes God, through the mail.

Cette passionnante enquête nous entraîne en URSS, au Pakistan, à Kaboul et clandestinement dans les provinces d’Afghanistan. Dust of War Editions Robert Laffont, 1985 Co-written with Christophe de Ponfilly, Albert Londres Prize 1985. When the song of arms passes, comes the time of tears. Wars pass through history like whirlwinds. For the Soviets, the war in Afghanistan lasted ten years; for the Afghans, it continues. Beyond the event, this book tells the terrible story of the men plunged into war. On both sides, the combatants and their loved ones confide in the great reporters, both winners of the Albert Londres Prize. Through their encounters, Ponfilly and Laffont paint a vast fresco of the absurd, where the gazes of men who killed each other without ever knowing each other meet. This exciting adventure takes us to the USSR, Pakistan, Kabul and clandestinely to the provinces of Afghanistan. A year of investigation for an exceptional document. Le Monde: "A relentless indictment of the obscenity of war." VSD: “A magnificent piece of work. The spirit of great reporting in its purest form.” Le Figaro: “Christophe de Ponfilly and Frédéric Laffont have tracked down, in both camps, the stigmata of the absurd Soviet-Afghan conflict. A formidable exercise, admirable result.”