Jean Rouch – Cinema of the World https://worldscinema.torrentbay.st Mon, 25 May 2026 15:44:03 +0000 en-US hourly 1 https://wordpress.org/?v=7.0 https://worldscinema.torrentbay.st/wp-content/uploads/2018/09/cropped-Vintage-Movie-Camera-Icon-32x32.png Jean Rouch – Cinema of the World https://worldscinema.torrentbay.st 32 32 Jean Rouch – Cocorico Monsieur Poulet AKA Cock-a-Doodle-Doo! Mister Chicken (1974) https://worldscinema.torrentbay.st/2026/05/cocorico-monsieur-poulet-1974/ https://worldscinema.torrentbay.st/2026/05/cocorico-monsieur-poulet-1974/#respond Mon, 25 May 2026 22:01:00 +0000 https://worldscinema.torrentbay.st/?p=280241 The story follows three poultry sellers on a trip across the bush, attempting to deliver a load of chickens to a market in Niamey. When a third person joins the group, the organization of the trip begins to look even more precarious. Quote: It is in relation to Cocorico, Monsieur Poulet (1974), where once again …

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The story follows three poultry sellers on a trip across the bush, attempting to deliver a load of chickens to a market in Niamey. When a third person joins the group, the organization of the trip begins to look even more precarious.

Quote:
It is in relation to Cocorico, Monsieur Poulet (1974), where once again the “Rouch gang” undertook an adventure, that both Rouch’s way of filming and his deep politics clearly reveal themselves. His greatest popular success in Africa and perhaps the most fun to make, the film is a “collective improvisation on a Nigerian fable”. Lam, an itinerant chicken merchant at the time, Damouré and Tallou Mouzourine (who also did the music), go through the bush with the real star of the film, Lam’s car, a “patience mobile” that endlessly breaks down, provoking an equal number of step by step improvised solutions and improvised filming. Cocorico had its American premiere at the Margaret Mead Film Festival and Cineaste suggested that for those unfamiliar with the African situation, what they saw seemed to reinforce basic prejudices against Africa. It seemed that the Africans treated their car like stereotyped “dumb hillbillies” would, the type “used as comic relief in Hollywood films and on American television”. While the interviewers themselves might seem a little “rabid”, their criticisms very “of the period” (Feld notes that this interchange has an “edge” the other interviews do not), similar objections could easily be put today by those wanting their documentaries to expose political-economic realities, to picture third world people with dignity – and surely not joke like this. People are aware, say Cineaste, that Africa is in transition, but in this film “there doesn’t seem to be anything positive going on, concretely or in consciousness” (…)



Cock-a-doodle-doo!.Mister.Chicken.1977.DVDRIP.x264.AC3.KJNU.mkv

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Language(s):French
Subtitles:English

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Jean Rouch – La punition AKA The Punishment (1962) https://worldscinema.torrentbay.st/2025/12/jean-rouch-la-punition-aka-the-punishment-1962/ https://worldscinema.torrentbay.st/2025/12/jean-rouch-la-punition-aka-the-punishment-1962/#comments Tue, 16 Dec 2025 01:04:00 +0000 https://worldscinema.torrentbay.st/?p=264701 An aimless young woman is sent home from school with nothing to do. Drifting through the streets of Paris, she comes across a variety of people. The.Punishment.1964.DVDrip.x264.AC3-SaL.mkvGeneralContainer: MatroskaRuntime: 1h 3mnSize: 1.43 GiBVideoCodec: x264Resolution: 554x480 ~> 640x480Aspect ratio: 4:3Frame rate: 23.976 fpsBit rate: 2 938 KbpsBPP: 0.461Audio#1: French 2.0ch AC-3 @ 224 Kbps https://nitro.download/view/C391A58224CA183/The.Punishment.1964.DVDrip.x264.AC3-SaL.mkv https://nitro.download/view/2F302F1A36C73F2/The.Punishment.1964.DVDrip.x264.AC3-SaL.en.srt Language(s):FrenchSubtitles:English

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An aimless young woman is sent home from school with nothing to do. Drifting through the streets of Paris, she comes across a variety of people.

The.Punishment.1964.DVDrip.x264.AC3-SaL.mkv

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Jean Rouch – Petit à petit AKA Little by Little [Extended TV Cut] (1971) https://worldscinema.torrentbay.st/2025/05/jean-rouch-petit-a-petit-aka-little-by-little-extended-tv-cut-1971/ https://worldscinema.torrentbay.st/2025/05/jean-rouch-petit-a-petit-aka-little-by-little-extended-tv-cut-1971/#respond Mon, 19 May 2025 05:08:00 +0000 https://worldscinema.torrentbay.st/?p=245345 Jean Rouch’s Nigerien collaborators travel to France to perform a reverse ethnography of late-1960’s Parisian life. Icarus Films wrote: By 1969, Jean Rouch had spent more than two decades documenting West Africa as an ethnographer, and in 1961 had co-directed Chronicle of a Summer, an anthropological investigation of Parisian life. In Little by Little, Rouch’s …

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Jean Rouch’s Nigerien collaborators travel to France to perform a reverse ethnography of late-1960’s Parisian life.

Icarus Films wrote:
By 1969, Jean Rouch had spent more than two decades documenting West Africa as an ethnographer, and in 1961 had co-directed Chronicle of a Summer, an anthropological investigation of Parisian life. In Little by Little, Rouch’s Nigerien collaborators Damoure Zika and Lam Ibrahim travel to Paris and end up performing a reverse ethnography of French culture.

When we re-join Zika and Ibrahim in Ayorou, Niger, the Little By Little company they had formed at the conclusion of Jaguar has become a large import-export company. Hearing that a competitor is building a multistory building in Niamey, the directors of the company decide they must construct their own in Ayorou.

Zika flies to Paris to study the city’s skyscrapers and meet with architects for advice. His mission quickly broadens into a full-fledged investigation of French life, the methods of which begin to suspiciously resemble those of imperialist European anthropology, and give a darkly comic charge to the proceedings.

Ibrahim eventually joins Zika in France, and the pair fall into their own version of contemporary European life, along the way picking up Senegalese clothing designer, a white French typist, and a hobo, all of whom return with them to Niger to work for Little By Little.

The most cutting of Rouch’s collaborative ethno-fictions, Little by Little playfully satirizes the history of European-African relations.



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Language(s):French
Subtitles:English

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Jean Rouch – Les maîtres fous AKA The Mad Masters (1955) https://worldscinema.torrentbay.st/2025/02/jean-rouch-les-maitres-fous-aka-the-mad-masters-1955/ https://worldscinema.torrentbay.st/2025/02/jean-rouch-les-maitres-fous-aka-the-mad-masters-1955/#comments Fri, 14 Feb 2025 00:03:00 +0000 https://worldscinema.torrentbay.st/?p=240066 Quote: A man possessed by a Hauka spirit stoops and breaks an egg over the sculpted figure of the governor . . . that presides over the day’s event of Hauka possession. Cracked on the governor’s head, the egg cascades in white and yellow rivulets. Then the film is abruptly cut. We are transported to …

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Quote:
A man possessed by a Hauka spirit stoops and breaks an egg over the sculpted figure of the governor . . . that presides over the day’s event of Hauka possession. Cracked on the governor’s head, the egg cascades in white and yellow rivulets. Then the film is abruptly cut. We are transported to a big military parade in the colonial city two hours away. The film hurls us at the cascading yellow and white plumes of the white governor’s gorgeous hat as he reviews the black troops passing. . . .

The British authorities in Ghana banned the film. The reason? According to Rouch they “equated the picture of the Governor with an insult to the Queen and to her authority.” But what was the insult? It turns out to be exactly that moment of montaged dynamite I have singled out, where the mimetic power of the film piggy-backs on the mimetic power of African possession ritual. The insult, explains Rouch, “was because the film shows an egg being broken over the head of an image representing the Governor-General, in imitation of the real Governor-General’s plumes cascading over his ceremonial helmet.” The Hauka were jailed in 1935 for mimicking the white man who possessed their very bodies, and Rouch’s film was banned in the 1950s for mimicking that mimicking.

Moreover Rouch himself banned showing it—at least to people in it who had been filmed in trance, for upon its being projected onto a screen they went into trance in an uncontrollable and almost dangerous way. “It is a kind of electroshock, he said, “to show a man a film of himself in trance.”



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Jean Douchet, Jean Rouch, Jean-Daniel Pollet, Eric Rohmer, Jean-Luc Godard, Claude Chabrol – Paris vu par… AKA Six in Paris (1965) https://worldscinema.torrentbay.st/2024/07/jean-douchet-jean-rouch-jean-daniel-pollet-eric-rohmer-jean-luc-godard-claude-chabrol-paris-vu-par-aka-six-in-paris-1965/ https://worldscinema.torrentbay.st/2024/07/jean-douchet-jean-rouch-jean-daniel-pollet-eric-rohmer-jean-luc-godard-claude-chabrol-paris-vu-par-aka-six-in-paris-1965/#respond Mon, 22 Jul 2024 22:07:00 +0000 https://worldscinema.torrentbay.st/?p=228186 Synopsis: Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d’Etoile (Rohmer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs. …

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Synopsis: Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d’Etoile (Rohmer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs.

Paris vu par... (1965)
Paris vu par... (1965)
Paris vu par... (1965)
Paris.vu.par.1965.576p.BluRay.AAC2.0.x264.mkv

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Jean Rouch – La goumbe des jeunes noceurs (1967) https://worldscinema.torrentbay.st/2023/08/la-goumbe-des-jeunes-noceurs-1967/ https://worldscinema.torrentbay.st/2023/08/la-goumbe-des-jeunes-noceurs-1967/#comments Thu, 10 Aug 2023 06:43:17 +0000 https://worldscinema.torrentbay.st/?p=201772 Quote:À Abidjan, dans le quartier de Treichville, la Goumbé des jeunes noceurs se réunit dans la rue pour de spectaculaires exhibitions de chants et de danses modernes. Les goumbés regroupent de jeunes villageois venus du Sahel tenter leur chance en ville et qui, grâce à ces associations, s’assurent entraide et solidarité… tout en s’amusant follement …

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Quote:
À Abidjan, dans le quartier de Treichville, la Goumbé des jeunes noceurs se réunit dans la rue pour de spectaculaires exhibitions de chants et de danses modernes. Les goumbés regroupent de jeunes villageois venus du Sahel tenter leur chance en ville et qui, grâce à ces associations, s’assurent entraide et solidarité… tout en s’amusant follement !

Numérisé et restauré en 2K avec le soutien du CNC pour l’aide à la numérisation. Remerciements à Laurence Braunberger et aux Films du Jeudi.

Jean Rouch, jeune ingénieur des ponts et chaussées, va pendant la guerre travailler en Afrique et commence à y filmer en 1946. Pierre Braunberger perçoit rapidement l’originalité de la démarche de Rouch et comprend la valeur de ses premiers films. Les Fils de l’eau inaugure une collaboration entre ces deux hommes qui durera plus d’une vingtaine d’années, offrant à Rouch une structure professionnelle de production pour la réalisation de nombre de ses films parmi les plus importants, dont Les Maîtres fous, La Chasse au lion à l’arc, Moi, un Noir, La Punition, La Goumbé des jeunes noceurs et Petit à petit.

« Avec Rouch, s’amorce en 1951 une collaboration qui ne va pas s’interrompre jusqu’à aujourd’hui. Lorsque je le rencontrai au Festival du film maudit, je fus ébloui par une série de courts métrages qu’il avait tournés en Afrique. Je lui ai donc demandé de réaliser un long métrage dont nous avons ensemble conçu le thème en utilisant ces documents. Il s’agit des Fils de l’eau. Je m’étonne toujours que la critique qualifie de “cinéma-vérité” des œuvres d’hommes aussi différents que Reichenbach, Rouch ou Marker. Le cinéma-vérité n’est pas une école documentaire : il s’applique à des attitudes très différentes devant le réel, à des réactions complètement opposées face au document. Rouch, par exemple prévient ses interprètes au tournage, ils jouent alors pour eux-mêmes la comédie. Il est honnête vis-à-vis de ses acteurs. Je n’analysais pas, à l’époque, le cinéma de Rouch, mais j’y trouvais une sorte de commedia dell’arte, une façon originale de filmer la réalité africaine. Rouch possède ce sens du constat, caméra à l’épaule. La mise en scène est pour lui un moyen, par l’improvisation, de susciter chez les autres (comédiens ou non) des réactions imprévisibles et qu’il constatera ensuite, une fois l’image enregistrée. Il possède aussi un sens aigu de l’humour, qu’il sait à merveille capter chez autrui. » (Pierre Braunberger, 1987)

La Goumbé des jeunes noceurs (Jean Rouch, 1965) - HENRI.mkv

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Jean Rouch – Moro Naba (1958) https://worldscinema.torrentbay.st/2023/03/moro-naba-1958/ https://worldscinema.torrentbay.st/2023/03/moro-naba-1958/#comments Tue, 21 Mar 2023 23:24:31 +0000 https://worldscinema.torrentbay.st/?p=190007 Funeral rituals for the traditional leader Moro Naba of the Mossi at Ougadougou, Upper Volta (now Burkina Faso). Election ceremonies for his successor. Preparing the feast for the end of mourning. Ceremony in the palace, the people of Ougadougou, the warriors in traditional dress. Presentation of the new leader. imdb comment:Jean Rouch signs another work …

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Funeral rituals for the traditional leader Moro Naba of the Mossi at Ougadougou, Upper Volta (now Burkina Faso). Election ceremonies for his successor. Preparing the feast for the end of mourning. Ceremony in the palace, the people of Ougadougou, the warriors in traditional dress. Presentation of the new leader.

imdb comment:
Jean Rouch signs another work on Africa and in particular to the people of the Niger region, to which he is particularly found of, and to whom he will dedicate most of his works: Les maitrre fous, Moi un noir, la bataille du grand fleuve and so on.

This documentary is filmed in a very classic manner: an off-field voice comments the Moro Naba – Emperor of the Mossi people, also called the sun king – funeral and then crowning. The ceremony itself is extremely interesting for two main reasons: the first obvious one is the ceremony itself, with its complicated rituals and symbolism, that includes the funeral of the dead emperor, the submission of notables, the choice of a new emperor and his “limbo”, that include chasing the sun during the course of the day and not being allowed to wear the Emperor’s clothes until dusk. The second reason that makes this movie interesting is that it was filmed in 1958, and it is therefore also a documentary about Mossi people at that time (even if the Moro Naba ceremony still takes place today), considering also how little documentation we have on Africa during that period. That is also, of course, its turn-off. If you’re expecting to see a movie about Africa, you have to consider how much as changed.

Jean Rouch well depicts the dichotomy between a hollow white men’s world and a strongly communial black men world. The mass to commemorate the dead Moro Naba, the newly vested Moro Naba’s visit to colonial powers and his ride in a fancy car along with whites, are all briefs and senseless parenthesis in the long day that will mark the crowning of the Moro Naba.

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