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After studying architecture, he founded with a friend the CEC (Centro Experimental de Cinematografia), in Mexico City. In 1960, the French Institute of Latin America financed the first project of the group, a documentary that will remain unfinished.\n\nHe moved to Paris in 1966. From 1968 to 1975, he made films in super 8 in London, Paris, Morocco and Denmark. Then accompanied by Michel Nedjar with whom he turned \"Michel là-bas\" in Morocco, he traveled for six years in India, Nepal, Greece ... Back in Paris, he realized Salomé (1976) in the spirit of Oscar Wilde. He meets Gaël Badaud, with whom he begins a long series of collaborations where elements of his own experience are incorporated in the films. In 1977, he realized Cristo, which will be part of a trilogy on passion with Cristaux and Lacrima Cristi. In 1980, with his friends (Nedjar, Jakobois and Badaud) he founded the group MétroBarbèsRochechou Art.","1939-12-23","1992-08-29",2,null,1425408,"nm1770671","Directing","Teo Hernández","Ciudad Hidalgo, Michoacán, Mexico",0.4156,"\u002F1QpaetA7G2KCOxSUzC95634GQ9w.jpg",{"cast":114,"crew":438},[115,129,142,154,165,176,185,195,205,215,225,234,242,250,259,271,281,289,297,305,313,322,330,339,351,360,367,374,384,394,402,410,417,425],{"adult":97,"backdrop_path":105,"genre_ids":116,"id":117,"title":118,"original_language":119,"original_title":118,"overview":120,"popularity":121,"poster_path":122,"release_date":123,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":125,"credit_id":126,"order":127,"media_type":128},[21],1064748,"Les Jours et les Nuits","fr","I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.",0.7421,"\u002FvxTrWXeAoN1so038FrIBiSREYij.jpg","2021-11-19",0,"Self","650c887844ea54011d01fb30",112,"movie",{"adult":97,"backdrop_path":130,"genre_ids":131,"id":132,"title":133,"original_language":119,"original_title":133,"overview":134,"popularity":135,"poster_path":136,"release_date":137,"softcore":97,"video":97,"vote_average":138,"vote_count":139,"character":140,"credit_id":141,"order":139,"media_type":128},"\u002F6fJgLOFJO5AAlieLZxfmTyZKOEy.jpg",[21],272074,"Cinématon","Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.",1.2791,"\u002F5l2dmFdiaFbt8XUyzmZxBeqGMJA.jpg","1978-12-20",4.9,7,"N°16 \u002F N°481","5a6cc0860e0a265f0100eb10",{"adult":97,"backdrop_path":105,"genre_ids":143,"id":144,"title":145,"original_language":119,"original_title":145,"overview":146,"popularity":147,"poster_path":148,"release_date":149,"softcore":97,"video":97,"vote_average":150,"vote_count":151,"character":152,"credit_id":153,"order":124,"media_type":128},[],500801,"Au cœur du cristal","The song composed by the author modulates the phases of the film and constitutes, in its entirety, the specific form of a call.",0.309,"\u002FbwHxHoNkLHNfNxNfVThFUKuZpww.jpg","1980-01-01",5,1,"","5a706d54c3a36847e40108c7",{"adult":97,"backdrop_path":155,"genre_ids":156,"id":157,"title":158,"original_language":119,"original_title":158,"overview":159,"popularity":160,"poster_path":161,"release_date":162,"softcore":97,"video":97,"vote_average":163,"vote_count":150,"character":152,"credit_id":164,"order":150,"media_type":128},"\u002F6Sj4fHRvdpwoD2vcdTf9926nLkb.jpg",[24],501486,"Cristo","All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.",0.2644,"\u002FftFtjiOpviYBT6obBq5TKpU69E6.jpg","1977-08-30",4.2,"5ac50f920e0a260c4a0594d7",{"adult":97,"backdrop_path":166,"genre_ids":167,"id":168,"title":169,"original_language":119,"original_title":169,"overview":170,"popularity":171,"poster_path":172,"release_date":173,"softcore":97,"video":97,"vote_average":174,"vote_count":151,"character":152,"credit_id":175,"order":151,"media_type":128},"\u002FszQsZ2XMrR8ftd7hQhfIn7DglyI.jpg",[21],474149,"Tables d'hiver","Winter 1978-1979: In his signature style, Hernández films hearty meals, long afternoons and candlelit dalliances inside his residence on rue des Entrepôts.",0.1831,"\u002FeHVZJfPKy25y28gdNu4s2OyCDdx.jpg","1979-12-02",6,"5b75d5419251411d870168e5",{"adult":97,"backdrop_path":105,"genre_ids":177,"id":178,"title":179,"original_language":119,"original_title":179,"overview":180,"popularity":181,"poster_path":182,"release_date":183,"softcore":97,"video":97,"vote_average":174,"vote_count":151,"character":152,"credit_id":184,"order":124,"media_type":128},[],474135,"4 à 4 Métro-Barbès-Rochechou-Art","In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.",0.5337,"\u002FflkAEy2FuU8xeK5hpsw9xQmi5Rd.jpg","1983-03-16","5bd8f043c3a3683cea002377",{"adult":97,"backdrop_path":105,"genre_ids":186,"id":187,"title":188,"original_language":119,"original_title":189,"overview":190,"popularity":191,"poster_path":192,"release_date":193,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":194,"order":124,"media_type":128},[],567265,"Three Drops of Mezcal in a Glass of Champagne","Trois gouttes de mezcal dans une coupe de champagne","An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.",0.2497,"\u002FrK2eC4lfkj9tO4v22DpM1yOKcg6.jpg","1983-01-25","5c0b3d950e0a2638bc0659af",{"adult":97,"backdrop_path":105,"genre_ids":196,"id":197,"title":198,"original_language":119,"original_title":199,"overview":200,"popularity":201,"poster_path":202,"release_date":203,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":204,"order":151,"media_type":128},[],500800,"Ephemeral","Éphémère","The construction of the film outlines the successive steps of a path that, as we move forward, reveals the different stages of its presentation: the moon, the rose, the child, the candle and the skull are linked in a unique picture that gives its internal meaning. Elements connected by the route of the film to lead to the final image: one in which the meaning becomes external.",0.2815,"\u002FzcySaaj0qUwd8Cy0Sr6Rcoo0L4V.jpg","1979-01-01","5c0cd50b0e0a2638c50a42ec",{"adult":97,"backdrop_path":105,"genre_ids":206,"id":207,"title":208,"original_language":119,"original_title":209,"overview":210,"popularity":211,"poster_path":212,"release_date":213,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":214,"order":124,"media_type":128},[21],474138,"Fragments","Tranches","Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.",0.1618,"\u002FypSBsE0mcqXeEh80wZYqDnXsMd9.jpg","1987-01-28","5c0e1ed80e0a2638b60ba6bc",{"adult":97,"backdrop_path":105,"genre_ids":216,"id":217,"title":218,"original_language":119,"original_title":219,"overview":220,"popularity":221,"poster_path":222,"release_date":223,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":224,"order":124,"media_type":128},[],579068,"Bouquet of Eyes","Grappe d'yeux","Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a \"four-handed\" look against the notion of authorship: a vindication of the community content (repressed?) in every image.",0.1671,"\u002FmJq28KbXZYydC4cmdlHyHroowHF.jpg","1983-12-31","5c520c5b92514151a95d4353",{"adult":97,"backdrop_path":105,"genre_ids":226,"id":227,"title":228,"original_language":119,"original_title":228,"overview":152,"popularity":229,"poster_path":230,"release_date":231,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":232,"credit_id":233,"order":104,"media_type":128},[21],585680,"Mes films commencent au moment où les autres se terminent (Conversation avec Teo Hernandez I)",0.3813,"\u002FsfbylJG96WIltL78iAnhotMv6wf.jpg","2014-09-24","Himself (voice)","5c7ad2b1c3a36844d11c6f30",{"adult":97,"backdrop_path":105,"genre_ids":235,"id":236,"title":237,"original_language":119,"original_title":237,"overview":152,"popularity":238,"poster_path":239,"release_date":240,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":232,"credit_id":241,"order":151,"media_type":128},[21],585684,"Un cinéaste qui ne tient pas la caméra est comme un peintre qui ne tient pas le pinceau (Conversation avec Teo Hernandez II)",0.3272,"\u002F9MxEcvIQYbCvCmEm5z8cuFryU9y.jpg","2014-09-04","5c7ad4c9c3a36821ec193610",{"adult":97,"backdrop_path":105,"genre_ids":243,"id":244,"title":245,"original_language":119,"original_title":245,"overview":152,"popularity":246,"poster_path":247,"release_date":248,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":232,"credit_id":249,"order":151,"media_type":128},[21],585686,"Teo Hernandez sur Radio Ark en Ciel",0.3712,"\u002FgWFQiQ3tdaqC7LK76Izr19prh4d.jpg","2014-04-26","5c7ad5e0c3a36844d41c1b50",{"adult":97,"backdrop_path":105,"genre_ids":251,"id":252,"title":253,"original_language":119,"original_title":253,"overview":254,"popularity":255,"poster_path":256,"release_date":257,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":258,"order":124,"media_type":128},[21],586303,"Nuits transparentes","Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).",0.1664,"\u002FkoI4fBLOFq3h32EcZMKlMUTgBxU.jpg","2011-04-14","5c7dffc7925141276f162a8a",{"adult":97,"backdrop_path":260,"genre_ids":261,"id":262,"title":263,"original_language":119,"original_title":263,"overview":264,"popularity":265,"poster_path":266,"release_date":267,"softcore":97,"video":97,"vote_average":268,"vote_count":269,"character":152,"credit_id":270,"order":124,"media_type":128},"\u002Fc1x5dFzoU5AemdMQ5WKZaheO8No.jpg",[],590835,"Le gant de l'autre","Exploration of bodies. Point, counterpoint. A black glove goes in search of a red glove.",0.2934,"\u002FqERTYfwcV6BenNLY2W6BhYxmwRY.jpg","1977-06-14",1.7,3,"5c99b60e0e0a264ccec4a5b1",{"adult":97,"backdrop_path":272,"genre_ids":273,"id":274,"title":275,"original_language":119,"original_title":275,"overview":276,"popularity":277,"poster_path":278,"release_date":279,"softcore":97,"video":97,"vote_average":151,"vote_count":104,"character":152,"credit_id":280,"order":124,"media_type":128},"\u002FhO0Tl03L6cb3UGBvKym0JBBEqbh.jpg",[],590853,"À quoi rêve l'araignée ?","An autobiographical film that orchestrates the fragments of Michel Nedjar's life, to compose an architecture. The family films shot by his father, pieces of Michel's first films shot in the Balearic Islands and in Athens, contemporary images with Teo Hernandez, to stolen dialogues between his mother and and his aunt, recorded without their knowledge. The author is the spider, at the center of a device that allows him to survive: he has woven the threads of his own web and is now in control of his personal situation.",0.2598,"\u002F6F5bBlLBYTBrh5mnEbUid5lHljV.jpg","1982-01-01","5c99c3ffc3a36863b73bd356",{"adult":97,"backdrop_path":105,"genre_ids":282,"id":283,"title":284,"original_language":119,"original_title":285,"overview":152,"popularity":286,"poster_path":287,"release_date":149,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":288,"order":124,"media_type":128},[],590846,"Sara\u002FTeo","Sara et Teo",0.1854,"\u002FrCqZ0Env71IrS6dJBIHmPQ1Em8q.jpg","5c99bef2c3a36807023bafe8",{"adult":97,"backdrop_path":105,"genre_ids":290,"id":291,"title":292,"original_language":119,"original_title":292,"overview":152,"popularity":293,"poster_path":294,"release_date":295,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":296,"order":124,"media_type":128},[],590843,"Désir",0.141,"\u002F6FkbN4hAWKpqO4iV5CGoeH3RQq0.jpg","1977-12-31","5c99bce30e0a264cd3c4d2c6",{"adult":97,"backdrop_path":105,"genre_ids":298,"id":299,"title":300,"original_language":119,"original_title":300,"overview":152,"popularity":301,"poster_path":302,"release_date":303,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":304,"order":124,"media_type":128},[],590839,"Teo",0.2131,"\u002F8Ejl0KANRk9QbnGNGseHCL0NdLP.jpg","1978-01-01","5c99b9e0c3a3684bd23bb5a5",{"adult":97,"backdrop_path":105,"genre_ids":306,"id":307,"title":308,"original_language":119,"original_title":308,"overview":152,"popularity":309,"poster_path":310,"release_date":311,"softcore":97,"video":97,"vote_average":163,"vote_count":174,"character":152,"credit_id":312,"order":124,"media_type":128},[],590840,"Sur Graal de T.H.",0.4654,"\u002F11OnD6QtS8U4N2rCFOqScuRAqPr.jpg","1981-02-17","5c99bae0c3a36877e63d662f",{"adult":97,"backdrop_path":105,"genre_ids":314,"id":315,"title":316,"original_language":119,"original_title":316,"overview":317,"popularity":318,"poster_path":319,"release_date":320,"softcore":97,"video":97,"vote_average":151,"vote_count":104,"character":152,"credit_id":321,"order":124,"media_type":128},[],590837,"Angle","\"ANGLE, with its brief black and white shots, almost always plunging and oblique, of naked bodies or parts of bodies, is a film of rupture. Punctuations of black primers break up the filmic continuity, isolating snapshots or brief furtive movements: the body rolling over itself, colliding with the other or falling (these terrible falls, as sharp as a fainting spell, like that of the hero of The Andalusian Dog, whose hand, as he falls, brushes for a moment against the naked back of a beautiful, insensitive woman, and which is, it seems to me, the most striking representation of the link between passion in love and death that can be given). Often these movements are repeated and the actors seem to be the descendants of Muybridge's bonshommes lost in a white room. At the end - this is the longest shot in the film - in a corner of the room, one of the two actors remains crouched, hiding his eyes in his hands. Then the corner reappears, empty.\"",0.319,"\u002FqRLk2korW2iv7RXmpl2anhyYwDW.jpg","1978-03-01","5c99b88ec3a36873193bb586",{"adult":97,"backdrop_path":105,"genre_ids":323,"id":324,"title":325,"original_language":119,"original_title":325,"overview":152,"popularity":326,"poster_path":327,"release_date":328,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":329,"order":269,"media_type":128},[],590898,"Le printemps",0.237,"\u002FyPY4LIFIJqftwPuFW0uhNe6Z6Ih.jpg","1987-01-01","5c9a0c7092514165b2f5f05f",{"adult":97,"backdrop_path":105,"genre_ids":331,"id":332,"title":333,"original_language":119,"original_title":333,"overview":152,"popularity":334,"poster_path":335,"release_date":336,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":152,"credit_id":337,"order":338,"media_type":128},[],590896,"Le chant de l'âme",0.4304,"\u002FyAZjFOoKTP9K2vloldsSrUslUWZ.jpg","1989-01-01","5c9a0a629251416e8ff60fe4",4,{"adult":97,"backdrop_path":340,"genre_ids":341,"id":342,"title":343,"original_language":344,"original_title":343,"overview":345,"popularity":346,"poster_path":347,"release_date":348,"softcore":97,"video":97,"vote_average":349,"vote_count":338,"character":152,"credit_id":350,"order":151,"media_type":128},"\u002F8dxHgHvIQCtIo44XWH8z36lAOV1.jpg",[],363775,"14, Bina Garden","xx","\"In 1968, during a stay in London, I could finally achieved my first film: 14, BINA GARDEN. A camera wanders into the decor of a room ...\"",0.1107,"\u002FgNCSqbPSaUfdMAHEJCuyVWS3Jrb.jpg","1968-10-22",5.2,"5d158a2c50f7ca001514a8b9",{"adult":97,"backdrop_path":105,"genre_ids":352,"id":353,"title":354,"original_language":119,"original_title":354,"overview":152,"popularity":355,"poster_path":356,"release_date":357,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":358,"credit_id":359,"order":151,"media_type":128},[],614109,"Téo",0.2279,"\u002FfPkxh9ZDhZDEyck3EG4n32IwlqE.jpg","2004-01-01","Himself","5d23d2e015c6364753f511b7",{"adult":97,"backdrop_path":105,"genre_ids":361,"id":362,"title":363,"original_language":119,"original_title":363,"overview":152,"popularity":364,"poster_path":105,"release_date":365,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"character":358,"credit_id":366,"order":151,"media_type":128},[21],648831,"La Femme en 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By reframing offcuts from the Passion tetralogy, Hernández invites viewers to discover hidden narratives and poetic meaning in material that was originally deemed surplus.",0.3429,"\u002F3ItFARbpPhIyHqat8JjLaMn6YeF.jpg","1984-12-31","59ae6e15c3a3682c4804c5ba",{"adult":97,"backdrop_path":105,"genre_ids":698,"id":699,"title":700,"original_language":119,"original_title":700,"overview":152,"popularity":701,"poster_path":702,"release_date":669,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":703,"department":108,"job":446,"media_type":128},[],474137,"Cinq films d’août",0.169,"\u002F1GpKsoQ0pAtZOMD2IGzxbjSOVi2.jpg","59ae6e49c3a3682c7c0573a6",{"adult":97,"backdrop_path":105,"genre_ids":705,"id":706,"title":707,"original_language":495,"original_title":707,"overview":708,"popularity":709,"poster_path":710,"release_date":711,"softcore":97,"video":97,"vote_average":150,"vote_count":151,"credit_id":712,"department":108,"job":446,"media_type":128},[],474147,"Sol y sombra","Short film by Teo Hernández that serves as a travelogue of a visit to Granada.",0.1742,"\u002FnZaxwqDvJUlbsQbxMhXf4nJMMJo.jpg","1988-11-09","59ae7160c3a3682c9c04f363",{"adult":97,"backdrop_path":714,"genre_ids":715,"id":716,"title":717,"original_language":495,"original_title":718,"overview":719,"popularity":720,"poster_path":721,"release_date":336,"softcore":97,"video":97,"vote_average":139,"vote_count":338,"credit_id":722,"department":108,"job":446,"media_type":128},"\u002FrbBxMjQ5BV8DZ2jTyJR5wgNyQcO.jpg",[],474141,"The Journey to Mexico","Le Voyage au Méxique","Touching testimony of Teo Hernandez's return to his country after fifteen years of exile.",0.3045,"\u002FyZi77mudQY0fxbFeM4r18VLkZyh.jpg","59ae6f29925141072f053058",{"adult":97,"backdrop_path":105,"genre_ids":724,"id":725,"title":726,"original_language":119,"original_title":726,"overview":727,"popularity":728,"poster_path":729,"release_date":730,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":731,"department":108,"job":446,"media_type":128},[],474148,"Souvenirs\u002FParis","Fugitive images of old Paris neighborhoods.",0.2604,"\u002F2F4v0UatGXese0oOeQ78MApjh2M.jpg","1980-11-10","59ae719992514107af05274b",{"adult":97,"backdrop_path":105,"genre_ids":733,"id":734,"title":735,"original_language":119,"original_title":735,"overview":152,"popularity":736,"poster_path":737,"release_date":711,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":738,"department":108,"job":446,"media_type":128},[],474146,"Proménade",0.2454,"\u002FyKavf6LPwcyzH5JAkyZ6Jwpl0rn.jpg","59ae706dc3a3682c4804c736",{"adult":97,"backdrop_path":105,"genre_ids":740,"id":741,"title":742,"original_language":119,"original_title":743,"overview":744,"popularity":745,"poster_path":746,"release_date":747,"softcore":97,"video":97,"vote_average":269,"vote_count":151,"credit_id":748,"department":108,"job":446,"media_type":128},[],474142,"Vloof the Egret: Monkey Bread","Vloof l’aigrette - Pain de singe","The outcome of Hernández’ friendship with the dancer and choreographer Bernardo Montet, this work, ranging from black-and-white to color, is the vertiginous record of a cross-dressing act, or a therapeutic performance on identity. Presented for the first time in Rouen, on May 26th 1987.",0.4237,"\u002FzKwhtMMLShwYnN8eWnI9IPzjZVK.jpg","1987-05-26","59ae6f65c3a3682cc8052c53",{"adult":97,"backdrop_path":750,"genre_ids":751,"id":752,"title":753,"original_language":119,"original_title":754,"overview":755,"popularity":756,"poster_path":757,"release_date":758,"softcore":97,"video":97,"vote_average":759,"vote_count":501,"credit_id":760,"department":108,"job":446,"media_type":128},"\u002F3JcEeAjmUpyuqJeDd2PFrwrwTuC.jpg",[21],474143,"The Water of the Seine","L'Eau de la Seine","Teo Hernandez films the water of the Seine and its reflections for a film at once material and luminous.",0.3207,"\u002FcKO5WlWH7ERs20V0VP7EIMB0Tc.jpg","1983-01-01",5.4,"59ae6fabc3a3682c7c057508",{"adult":97,"backdrop_path":105,"genre_ids":762,"id":763,"title":764,"original_language":119,"original_title":764,"overview":765,"popularity":766,"poster_path":767,"release_date":768,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":769,"department":108,"job":446,"media_type":128},[21],474144,"Souvenirs\u002FRouen","Fugitive images of the northwestern city of France.",0.2686,"\u002FpZR8Im03mj713mpICqhLoSH7GBf.jpg","1983-06-08","59ae6fe59251410723050941",{"adult":97,"backdrop_path":105,"genre_ids":771,"id":772,"title":773,"original_language":119,"original_title":773,"overview":774,"popularity":775,"poster_path":776,"release_date":423,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":777,"department":108,"job":446,"media_type":128},[21],474145,"Pascal","From the series \"Portraits\" : Pascal Martin",0.197,"\u002F9StHMj0mARBnGGnnXu0MiMvlHsj.jpg","59ae7030c3a3682bf004baff",{"adult":97,"backdrop_path":105,"genre_ids":779,"id":780,"title":781,"original_language":119,"original_title":781,"overview":782,"popularity":783,"poster_path":784,"release_date":669,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":785,"department":108,"job":446,"media_type":128},[21],1286001,"La Tour Eiffel, Olivier","Short film by Teo Hernandez",0.3741,"\u002F8qoplOc2BxKfNCcQUrjLH4z1uPH.jpg","663907198de0ae0129f73372",{"adult":97,"backdrop_path":105,"genre_ids":787,"id":788,"title":789,"original_language":119,"original_title":789,"overview":790,"popularity":791,"poster_path":792,"release_date":793,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":794,"department":108,"job":446,"media_type":128},[],1110428,"Gaël lit Pessoa","Experimental short by Teo Hernández.",0.1817,"\u002FfogBidi4dX4lM78gvYv9yc3ZKzG.jpg","1989-04-08","643154a13103250077284c5e",{"adult":97,"backdrop_path":105,"genre_ids":796,"id":797,"title":798,"original_language":119,"original_title":798,"overview":790,"popularity":799,"poster_path":800,"release_date":801,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":802,"department":108,"job":446,"media_type":128},[],1110438,"Le Canotier",0.2819,"\u002Fxbb03Bm8wVddiciUun1pazTPXFh.jpg","1988-04-08","64315b13e92d830077f80c9d",{"adult":97,"backdrop_path":105,"genre_ids":804,"id":805,"title":806,"original_language":119,"original_title":806,"overview":790,"popularity":807,"poster_path":808,"release_date":809,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":810,"department":108,"job":446,"media_type":128},[],1110437,"Gabriel",0.3191,"\u002Fvt0lCuXDh49LBdOV8zIvXcfY7OE.jpg","1985-04-08","64315aa29a64350666c71a64",{"adult":97,"backdrop_path":105,"genre_ids":812,"id":813,"title":814,"original_language":119,"original_title":814,"overview":815,"popularity":816,"poster_path":817,"release_date":818,"softcore":97,"video":97,"vote_average":338,"vote_count":151,"credit_id":819,"department":108,"job":446,"media_type":128},[],1110439,"Vloof l'aigrette","Outtakes from the film \"Vloof l’aigrette - 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As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding (\"the camera must become a second eye\") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.",0.4233,"\u002FjOD7OFLHEXXUSV1DSpf7kXCg9KO.jpg","1978-12-22",9.5,"5a7099b6c3a36847e0013e45",{"adult":97,"backdrop_path":887,"genre_ids":888,"id":889,"title":890,"original_language":119,"original_title":890,"overview":891,"popularity":892,"poster_path":893,"release_date":894,"softcore":97,"video":97,"vote_average":895,"vote_count":269,"credit_id":896,"department":108,"job":446,"media_type":128},"\u002Fr663Cqu2VZYLpnQ6fvnwPI8lfsb.jpg",[],504720,"Graal","The film Graal goes (as well as all the films which precede it) toward an open and avowed paganism, in which pagan force and magic imbue all the subjects at all times. (...) This is not about \"the\" Holy Grail and its legend but about the concept of the Grail, taken in a larger sense as a universal archetype: abbreviation, metaphor of the cosmos. In fact, achievement. That is what the Grail is: the achievement's completion.",0.3716,"\u002F6PLPVVTHb6m2LWVy7PN9U5IPnGp.jpg","1980-07-25",2.3,"5a815a1f925141410a02c202",{"adult":97,"backdrop_path":105,"genre_ids":898,"id":899,"title":900,"original_language":119,"original_title":900,"overview":790,"popularity":901,"poster_path":105,"release_date":902,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":903,"department":108,"job":446,"media_type":128},[],1127645,"Serge",0.1694,"1969-05-16","64636331ef8b3200fe7e8b58",{"adult":97,"backdrop_path":105,"genre_ids":905,"id":906,"title":907,"original_language":119,"original_title":907,"overview":908,"popularity":909,"poster_path":910,"release_date":911,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":912,"department":108,"job":446,"media_type":128},[21],519440,"Gaël","An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.",0.3726,"\u002F7HOe6r7BWjOidg22nr38rlogptO.jpg","1978-12-23","5ad9fd00c3a3683c8b00dd82",{"adult":97,"backdrop_path":105,"genre_ids":914,"id":915,"title":916,"original_language":119,"original_title":916,"overview":917,"popularity":918,"poster_path":919,"release_date":920,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":921,"department":108,"job":446,"media_type":128},[],519441,"Souvenirs\u002FBourges","Bourges, France, May 1981. 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If chance is travesty of desire, and desire movement without measure, cinema is vibration of this desire in fugue.",0.2888,"\u002Fb4qoY7ChaePLR8hSot9mYJL2OsK.jpg","1981-11-27","5ad8bb0c0e0a26616c0007fd",{"adult":97,"backdrop_path":959,"genre_ids":960,"id":961,"title":962,"original_language":119,"original_title":962,"overview":963,"popularity":964,"poster_path":965,"release_date":295,"softcore":97,"video":97,"vote_average":139,"vote_count":151,"credit_id":966,"department":108,"job":446,"media_type":128},"\u002FaPKf5aTSyHLPn82eEHpWXrBhiz0.jpg",[],522187,"Esmeralda","With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondary in the filmmaker's work, whose purpose is the constitution, by interposed myths, of a baroque cinematographic language. From this point of view, he joins the approaches of other contemporary filmmakers like Bene or Schroeter. In Esmeralda, he introduces masks from his creation to work on the physical and not only the filmic material. But Hernandez adds to his series of aesthetic variations of \"stock-shots\" of war plans, desolations, genocides, which brutally fall within the visual framework of his film. The filmmaker thus points out the cracks that overflow the myth in its darkest areas: the historical and social reality that obsesses us, that terrorizes us every moment.",0.3163,"\u002F4LWtkfpcR2h4GW6L7i0jF9KANwa.jpg","5aeb772e92514158c30004fb",{"adult":97,"backdrop_path":105,"genre_ids":968,"id":969,"title":970,"original_language":388,"original_title":970,"overview":971,"popularity":972,"poster_path":973,"release_date":152,"softcore":97,"video":97,"vote_average":124,"vote_count":124,"credit_id":974,"department":108,"job":446,"media_type":128},[],1314286,"Voir Vienne","Film Super 8 color, 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