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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!

Dans les cuisines de l'un des meilleurs restaurants du monde, L'Ambroisie de Bernard et Danièle Pacaud, Place des Vosges à Paris. Kitchen Secret: Ambrosia Le Monde: " There are films, like people, that strangely embrace you. What determines a person to be what they are? That's the question posed in this portrait of Bernard Pacaud, one of France's greatest chefs, head of L'Ambroisie in Paris. It's a rare film that conveys a little music, that of this shy, hypersensitive man at the height of his fame, a dissatisfied man who only feels good in front of his stove." Télé 7 Jours: ‘More than an enchantment for the senses, something here passes on to the screen: that particular alchemy that sometimes arises between a virtuoso filmmaker and an inspired man’. A film by Frédéric Laffont Editing: Jean-François Giré Length: 52' © France 3, Interscoop, 2000 In the kitchens of one of the world's finest restaurants, Bernard and Danièle Pacaud's L'Ambroisie , Place des Vosges, Paris.

C'est une histoire de France, méconnue, et celle de ses enfants. C’est aussi une histoire de l’immigration. L'arrivée dans le Nord et la Lorraine de 80.000 mineurs marocains. Frédéric Laffont nous invite à la nuance à travers un récit où se mêlent monde du travail, mémoire, dignité et rêves accomplis. Life ahead of us FIPADOC 2022 La Croix: "Contrary to the poisonous identity debates, this film draws everything in nuances a history of France and immigration." Télérama TTT " I have rarely heard a human word of such intensity," said Frédéric Laffont. "Their courage, their self-sacrifice, and their dignity deserve to be heard." L'Humanité: "A little-known part of industrial history finally brought to light." A film by Frédéric Laffont Co-authors Ariane Chemin Mariame Tighanimine Frédéric Laffont Edited by Catherine Rascon Duration: 52' © Arte, Bellota Films, Camera Magica, 2022 In the 1960s and 70s, Félix Mora traveled through southern Morocco in search of muscles to close, at low cost, the mines of France. Mora would have recruited more than 80,000 miners for the North and Lorraine. Yesterday's miners gave birth to more than 600,000 French people. It's a little-known story of France, and that of its children. It's also a story of immigration. THE LIFE BEFORE US is a film about the present. An antidote to the poisons of identity of the times. An invitation to nuance through a story that mixes the world of work, memory, dignity and dreams fulfilled. A film like a mythological song.

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...

"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.

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...”.

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.

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Chili, 1988. Oscar Castro rentre au pays. Le dictateur Pinochet organise un référendum qu'il va perdre. Après des années passées en détention, après l’exil à Paris Oscar retrouve les siens, sa famille, ses amis, son théâtre. Il cherche sa mère, disparue durant les années de la dictature. We loved each other so much in Santiago Le Monde: "A painful, often joyful journey. A film full of simple humanity. Suffering. Oscar doesn't talk about it. All we hear is his father repeating that his wife, whose blood was used to draw a hammer and sickle on the wall of the abandoned hut at the bottom of the garden, "was eaten by dogs." A film by Frédéric Laffont & Pierre Barouh Editing: Jean-Pierre Bozon Length: 55' © Antenne 2, Interscoop, 1988 Chile, 1988. Oscar Castro returns home. Dictator Pinochet organizes a referendum that he loses. After years in prison, after exile in Paris, Oscar returns to his family, his friends, and his theater. He is looking for his mother, who disappeared during the years of the dictatorship.

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.