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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 Lafont, filmographie, documentaire, livre, grand reportage, grand reporter, Prix Albert Londres, film Editorial charter Notre charte éditoriale est un guide pour la création de contenus au sein de Camera Magica. Elle vise à assurer la qualité, l'originalité et l'authenticité de nos productions. En tant que studio de cinéma, nous nous engageons à respecter les normes éthiques et professionnelles de l'industrie cinématographique. Notre charte éditoriale comprend des directives sur la narration, la représentation des sujets, l'équité, la diversité et l'inclusion. Nous encourageons nos équipes à s'engager dans une démarche de création responsable et à donner voix à ceux qui sont moins entendus. Pour plus de détails sur notre charte éditoriale, veuillez consulter notre guide complet.

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"Dans les bottes de Clint est un documentaire qui traite moins de rodéo que de la façon dont un fils incarne les rêves de son père. Dont les rêves du père investissent le corps du fils. Chez les Grecs, ça aurait donné une tragédie. Chez les cow-boys, c'est un western." Frédéric Laffont In Clint's Boots SCAM Star 2013 Télérama: “ What has become of the world whose agony John Huston celebrated in The Misfits in 1960? This is the question that guided documentary filmmaker Frédéric Laffont to the American West, to meet these cowboys who are so endlessly dying that some of them still exist, animated by the spirit of the pioneers whose mark Westerns bear. "Arriving in Houston, I see some guys and I ask them about the character of Montgomery Clift in The Misfits. I call up this fictional character that they obviously don't know—they haven't seen any movies, nor read any books—to see if they know anyone whose life would be comparable to his. Someone who would get smashed from rodeo to rodeo, all the time saying, 'Don't worry, Mom. Everything's fine. I won a hundred dollars.' They laugh and tell me that the best of them is Clint Cannon. That's how I first met Clint, in his small house in Waller, Texas. "Behind the cemetery, near a big oak tree," he told me over the phone. The shutters were closed. After pushing open the door, which of course creaked, I made out in the gloom about twenty hats and as many rifles. A large screen was showing images from Afghanistan, in front of which sat Clint and his brother, wearing hats and dressed in black. Without turning around, Clint asked me if I'd eaten. I thought, "That's him!" From this meeting and the 20,000 kilometers spent with him on the roads, riding from rodeo to rodeo in pursuit of the dream common to young cowboys (to acquire a ranch), Ballade pour un cow-boy was born in 2006. "This first film was a bit like the cowboy's wandering in the great outdoors, as ARTE wanted. In Clint's Boots, which I later directed for France Télévisions, is a more ambitious documentary, which deals less with rodeos than with the way a son embodies his father's dreams. How the father's dreams take over the son's body. For the Greeks, it would have been a tragedy. For cowboys, it's a western." After being tempted to integrate the cowboy and his world into a fictional film – “a stupid idea, a complete mistake, as if you had to distance yourself from the documentary to go further!” – Frédéric Laffont returns from Texas and is now preparing to enter the editing room to give shape to what could be the culmination of seven years of companionship with Clint, who ended up becoming vice-world rodeo champion and bought two ranches. “He and his father don’t speak to each other anymore, okay. But everyone is now living on cloud nine.” Before discovering this feature film in theaters, immerse yourself in the shoes of Clint, the hero of his life – however difficult it may be. A film by Frédéric Laffont Duration: 1h03' © Les Films d'ici, Camera Magica 2011 Editing: Jean François Giré Pauline Casalis Clint Cannon is a rodeo cowboy. Like his father, he dreams of qualifying for the Las Vegas finals. His future is the next rodeo, and from rodeo to rodeo, he crosses America. He often sleeps in the car, he sometimes runs out of food, but a cowboy like Clint doesn't complain. Being a cowboy at the beginning of the 21st century means braving miles in an air-conditioned car, loneliness and boredom in parking lots, but it also means, for Clint, defending a certain idea of homeland: “The whole world knows that America was made by cowboys. We're not going to let it die.” Over the course of the rodeos, he risks losing almost everything (his fiancée, his health, his last dollars); everything except his illusions and the unconditional support of his father. The rise and fall of dreams. On the road to the world title!

"Un film enthousiasmant signé Frédéric Laffont. En quête de personnages qui bataillent pour tisser du lien social et améliorer la vie des gens, le réalisateur s'est arrêté à Noisy-le-Sec. Un documentaire gai, porteur d'espoir, filmé et commenté avec sensibilité." Olympic suburbs Libération: " We can never thank Frédéric Laffont enough, who directed this beautiful issue of Aux petits bonheurs la France, for stepping back behind the humanity of those he films and not selling out their singularity to make them into idiotic standard-bearers. On the effectiveness of the counter-attack.” Le Monde: " An exciting film by Frédéric Laffont. In search of characters who fight to build social bonds and improve people's lives, the director stopped in Noisy-le-Sec. A cheerful, hopeful documentary, sensitively filmed and narrated." A film by Frédéric Laffont Edited by Jean-François Giré Duration: 52' © France3, Interscoop, 1998 A football team. Week after week, Olympique repeats what some don't hesitate to call a feat: it wins far more than it loses. It plays a leading role in a championship that isn't made for it. Olympique's victories open up new horizons for the suburbs.

"Frédéric Laffont nous emmène ce soir à Mériadec, petite commune de 800 habitants dans le Morbihan. Une histoire simple mais rythmée d'instants extraordinaires que le réalisateur a su saisir." Uproar on land and sea Télérama: "This evening, Frédéric Laffont is offering us not just a small but a very great joy. It's difficult to summarize this beautiful and rich documentary. The director is unparalleled when it comes to filming accurately and bringing to life in a few shots a neighbor or a friend who is simply passing through the film. Ramdam sur terre et mer is a magnificent tribute to the magicians of the ordinary, incredibly gifted at creating happiness." Le Monde: "Frédéric Laffont, author of the remarkable Banlieue olympique, takes us tonight to Mériadec, a small town of 800 inhabitants in Morbihan. A simple story, but punctuated by extraordinary moments that the director has captured." A film by Frédéric Laffont Edited by Jean-François Giré Duration: 52' © France 3, Interscoop, 1998 Mériadec: 800 souls, including more than 150 enrolled in its Breton music school! The guys here are landlubbers, more porcini mushroom pickers than barnacle gatherers. At sea, on land, at work, with family, and in music, they never stop rowing, in every sense of the word. Their boat is named after their association of sea bass skimmers: "Ramdam". With them, there is a sense of urgency to live, as if in dissent in the face of the surrounding gloom. Rowing across the sea? Making beautiful records? Publishing works on Brittany? Yes, all that, and in a fun way, please.

"Dans Palerme, portrait d'une séductrice, Frédéric Laffont est allé à la rencontre des Palermitains. Avec sa caméra dont il se sert comme d'un stylo, il raconte, à la première personne, ses rencontres, en nous livrant ses impressions et ses émotions." Palermo Arte Travel Collection Le Monde: "In Palermo, portrait of a seductress, Frédéric Laffont went to meet of the people of Palermo. The director takes us through the alleys and into the palaces of the city. With his camera, which he uses like a pen, he tells, in the first person, his encounters, sharing his impressions and emotions with us." A film by Frédéric Laffont Edited by Jean-François Giré Duration: 42' © La Sept Arte, Interscoop, 1998

À Beyrouth, le sport devient acte de résistance. Frédéric Laffont filme des enfants qui dribblent entre les ruines et rêvent plus grand que les conflits. Beirut, balls and balloons Golden Nymph & International Critics' Prize Monte Carlo Festival 1993 Le Monde : "As in Rossellini's Germany Year Zero, Frédéric Laffont's film begins in a post-war, end-of-world setting. The idea is beautiful and happy (...) The director's talent: from confession to confession, from detail to detail, from a fan's cry to a thought in the form of a poem, Frédéric Laffont gives his reportage an allegorical depth, and turns a film about soccer into a film about Lebanon." A film by Frédéric Laffont Editing: Jean-François Giré Lenght: 55' © France 3, Temps présent TSR, Interscoop, 1992 Beirut, 1990. The war never ends... A soccer club, the once prestigious Nejmeh, brings together men who once fought each other. With Ali, the goalkeeper, we visit each other's homes, on either side of the front and offside lines. Jo, Ali's father and first supporter, is a cab driver. In the still mined ruins of Beirut, he sings Aznavour: “How Sad Venice Can Be...”.

Vaclav Havel et Tonda. Havel, le dramaturge dissident, Tonda le fumiste. Quand Havel devient Président de la République, il appelle Tonda pour le protéger. Une histoire d’amitié entre deux hommes, comme une pièce de théâtre de l’Absurde… Intermission at Prague Castle with Vàclav Havel Le Pélerin ‘An extraordinary documentary’. Length: 57' © France 3, Interscoop, 1993 A film by Frédéric Laffont Editing: Jean-François Giré Vaclav Havel and Tonda. Havel, the dissident playwright, Tonda the joker. When Havel was in prison, Tonda took care of his house. When Havel became President of the Republic, he called Tonda to protect him. A story of friendship between two men, like a play of theatre of the absurd...

Explorez le parcours de Frédéric Laffont, réalisateur primé et fondateur de Camera Magica. Une œuvre documentaire guidée par l’engagement et l’humanité. Hello and welcome. 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. The commitment of a look 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.