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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.

Site Camera Magica, © Camera Magica, Consultation seulement Terms and conditions Camera Magica is a film studio specializing in the production of auteur documentaries. Our team is committed to imagining, producing, filming, telling, and crafting stories like craftsmen. With a commitment to beautiful work. We look beyond, giving a voice to those who don't have one. Company Name: Camera Magica Company name: Camera Magica Film Studio Head office address: [Address] Names of the company leaders: [Names of the company leaders] Phone number: [Phone number] Fax number: [Fax number] Company Email Address: [Email address] Registration number in the trade and companies register: [Registration number] Tax identification number: [Tax identification number] Legal form of the company: [Legal form of the company] Amount of Social Capital: [Amount of social capital] Site host: [Hosting company name, address, and phone number] Information on the use of personal data: [Privacy policy information] Information on the use of cookies: [Cookie policy information] The European Commission provides a platform for online dispute resolution (ODR). This platform is available at http://ec.europa.eu/consumers/odr/. As a customer, you always have the option of contacting the European Commission's arbitration board. We are neither willing nor obliged to participate in dispute resolution proceedings before a consumer arbitration board. Contact:

Chaque soir, le rideau va se lever. "C’est l’utopie à laquelle on croit tous ici ! ". Frédéric Laffont a filmé au fil de deux saisons lyriques au théâtre royal de la Monnaie (Bruxelles), en un temps troublé où la culture ne semble plus une priorité pour l’Europe, Les Enchanteurs défendent une certaine vision du monde et de la société. The Enchanters SCAM Star 2017 Every evening, the curtain will rise. "This is the utopia we all believe in here!" On stage and behind the scenes, in workshops and offices: more than four hundred people, visible and invisible, work to make this utopia a reality. They are The Enchanters. Filmed over two lyrical seasons, in a troubled time when culture no longer seems a priority for Europe, Les Enchanteurs defends a certain vision of the world and of society. English version: BEYOND THE STAGE A film by Frédéric Laffont Edited by Catherine Rascon Duration: 90' © La Monnaie / De Munt, Camera Magica, Simple Production, ARTE G.E.IE, RTBF, 2016

Bibliographie de Frédéric Laffont : découvrez ses livres. Frédéric Laffont, as a writer, pursues the same quest as in Camera Magica films: of a stripped-down and profound writing, It explores the nuances of human destinies. Paris, Kigali, Kabul, Jerusalem and Gaza… 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

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. 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.

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.

"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...”.