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Et comment les États-Unis sont passés tout près de réaliser l’impossible : faire régner la paix au Moyen-Orient. Apprendre des erreurs passées est plus urgent que jamais.",0.6685,"\u002FpQqtIhREXxyS0p5GmBSavAKutYc.jpg","2021-05-07",6.8,8,{"adult":5,"backdrop_path":6,"genre_ids":58,"id":59,"title":60,"original_language":17,"original_title":60,"overview":12,"popularity":61,"poster_path":6,"release_date":62,"softcore":5,"video":5,"vote_average":7,"vote_count":7},[10],1191080,"Days of Rage: The Young Palestinians",0.1414,"1989-09-06",{"adult":5,"backdrop_path":64,"genre_ids":65,"id":66,"title":67,"original_language":68,"original_title":67,"overview":12,"popularity":69,"poster_path":70,"release_date":71,"softcore":5,"video":5,"vote_average":7,"vote_count":7},"\u002FacA6mFqJWxrxPGAMq2rlPy1g4mz.jpg",[10],1191151,"فلسطين 1920","ar",0.3839,"\u002FsAbuHxuXqr106skR1cARkhXTL9t.jpg","2022-02-02",{"adult":5,"backdrop_path":73,"genre_ids":74,"id":75,"title":76,"original_language":17,"original_title":76,"overview":77,"popularity":78,"poster_path":79,"release_date":80,"softcore":5,"video":5,"vote_average":81,"vote_count":82},"\u002FeozLsgdW5VyUEdPDuDaBD4VB86o.jpg",[48,10],267480,"The Look of Silence","Une famille rescapée du génocide indonésien de 1965 découvre, à travers des images tournées par Joshua Oppenheimer, la manière dont leur fils a été assassiné ainsi que l’identité des meurtriers. Adi, le plus jeune de la fratrie né juste après les massacres, est résolu à briser le tabou du silence et de la peur. Ophtalmo itinérant, il profite de ses tournées pour confronter les responsables du meurtre de son frère – une chose inimaginable dans un pays où les assassins sont encore au pouvoir. Tourné juste avant la sortie de The Act Of Killing, nominé à l’Oscar du meilleur documentaire et dont la sortie avait provoqué un choc politique en Indonésie, The Look Of Silence en est le complément indispensable. Ensemble ces deux films initient autant qu’ils portent témoignage de l’effondrement de cinquante ans de silence.",1.4873,"\u002F7TakQLT8gyzIMG8hX8RLTd5qROQ.jpg","2014-11-13",7.822,314,{"adult":5,"backdrop_path":6,"genre_ids":84,"id":86,"title":87,"original_language":17,"original_title":87,"overview":12,"popularity":88,"poster_path":89,"release_date":90,"softcore":5,"video":5,"vote_average":7,"vote_count":7},[10,85,48],10402,1380286,"Punk Rock Lottery",0.5337,"\u002FyaAEvTDtJjamZJHsmEsKjU5FCrT.jpg","2025-09-16",{"adult":5,"backdrop_path":6,"genre_ids":92,"id":93,"title":94,"original_language":17,"original_title":94,"overview":12,"popularity":95,"poster_path":96,"release_date":97,"softcore":5,"video":5,"vote_average":98,"vote_count":99},[10],272285,"Meat Joy",0.7263,"\u002Fcg35YWMrooFnoezwFy4KcKwIizi.jpg","1964-05-29",6.667,6,{"adult":5,"backdrop_path":6,"genre_ids":101,"id":102,"title":103,"original_language":17,"original_title":103,"overview":12,"popularity":104,"poster_path":105,"release_date":12,"softcore":5,"video":5,"vote_average":7,"vote_count":7},[10],452373,"Enemy Alien",0.2679,"\u002F5tqfPOc6kdU9ysfa5IBUcglfJwS.jpg",{"adult":5,"backdrop_path":107,"genre_ids":108,"id":109,"title":110,"original_language":111,"original_title":110,"overview":12,"popularity":112,"poster_path":113,"release_date":114,"softcore":5,"video":5,"vote_average":7,"vote_count":7},"\u002FnYRjfnqgm6mCXYKwmXUbkZvebqG.jpg",[10],1008790,"Landscape dynamics","es",0.1465,"\u002FqInCX0nALXCnrtf9Sofq8cxEWaF.jpg","2020-04-08",{"adult":5,"backdrop_path":116,"genre_ids":117,"id":118,"title":119,"original_language":120,"original_title":119,"overview":121,"popularity":122,"poster_path":123,"release_date":124,"softcore":5,"video":5,"vote_average":125,"vote_count":126},"\u002FysDodI3uMTo8K1ghlUU3kNFHkMr.jpg",[10],26298,"Ici et Ailleurs","fr","\" Ici, c'est une famille de Français moyens devant leur télévision. Ailleurs, ce sont des combattants palestiniens filmés avant les massacres de Septembre noir.\" (JLG, 1976). \"On est venu ici pour étudier ça : apprendre, tirer des leçons, si possible enregistrer ces leçons, pour les diffuser ensuite ici même, ou ailleurs dans le monde. Il y a presque un an, deux d'entre nous sont venus enquêter au Front démocratique. Puis un autre est allé au Fath. Nous avons lu les textes et les programmes. En tant que maoïstes français, nous avons décidé de faire le film avec le Fath dont le titre est Jusqu'à la victoire. Nous laissons les Palestiniens, au cours du film, dire eux-mêmes le mot: \"Révolution\". Mais le avrai titre du film, c'est Méthodes de pensée et de travail du mouvement de libération palestinien.\" (JLG, Manifeste, juillet 1970)",0.8355,"\u002FyxdBS1jF7HF1GryHwCZSvLPukpL.jpg","1976-09-15",6.65,30,{"adult":5,"backdrop_path":128,"genre_ids":129,"id":130,"title":131,"original_language":17,"original_title":131,"overview":12,"popularity":132,"poster_path":133,"release_date":134,"softcore":5,"video":5,"vote_average":135,"vote_count":36},"\u002FaMgQr5Kj1jUDRU1VKr8cq9kNi61.jpg",[85,10],1201317,"Reflections - Mojave Desert",0.0734,"\u002Ffnvc4rdvuLkcDWP5LdUOITa8T9U.jpg","2017-06-30",10,{"adult":5,"backdrop_path":137,"genre_ids":138,"id":139,"title":140,"original_language":120,"original_title":140,"overview":141,"popularity":142,"poster_path":143,"release_date":144,"softcore":5,"video":5,"vote_average":135,"vote_count":36},"\u002F85csYkt4k6dxpDPY4goz0ZYnY2j.jpg",[10],1201355,"13 figures de Sarah Beauchesne au 71, rue Blanche","Une contorsionniste, placée sur une table dans l'atelier de l'artiste Christophe Boutin, nous propose 13 figures comme autant de sculptures. L'art n'est-il pas une simple déformation de la réalité ?",0.8226,"\u002FjNLgn9FjnsZ8t7qb0oK9exF92YU.jpg","1993-12-03",{"adult":5,"backdrop_path":6,"genre_ids":146,"id":147,"title":148,"original_language":149,"original_title":148,"overview":12,"popularity":150,"poster_path":151,"release_date":152,"softcore":5,"video":5,"vote_average":7,"vote_count":7},[10],461032,"ガーダ パレスチナの詩","ja",0.5501,"\u002FjhzFaIB9N7oPabHogOIMrBujwul.jpg","2006-05-20",{"adult":5,"backdrop_path":6,"genre_ids":154,"id":155,"title":156,"original_language":157,"original_title":156,"overview":12,"popularity":158,"poster_path":159,"release_date":160,"softcore":5,"video":5,"vote_average":161,"vote_count":162},[10,48],287786,"Ha-Ma'Abada","he",1.0474,"\u002F7YeAU0wI9S2J3bLLQXqbj3l0fa6.jpg","2013-04-24",5.6,4,{"adult":5,"backdrop_path":164,"genre_ids":165,"id":166,"title":167,"original_language":17,"original_title":167,"overview":12,"popularity":168,"poster_path":169,"release_date":170,"softcore":5,"video":5,"vote_average":171,"vote_count":172},"\u002F4dRQAvqBrGpDyjtdwIGg0jYxrNJ.jpg",[10],468620,"Architects of Denial",0.7113,"\u002F1DoIGyKbqCs96JiEsdIEsnpATZu.jpg","2017-10-06",6.9,7,{"adult":5,"backdrop_path":6,"genre_ids":174,"id":175,"title":176,"original_language":17,"original_title":176,"overview":12,"popularity":177,"poster_path":178,"release_date":179,"softcore":5,"video":5,"vote_average":7,"vote_count":7},[10,48],1575426,"Buried Under Rubble: Surviving Genocide in Gaza",0.6578,"\u002FejsYSCyzXTZdblMBiU08WQtKgDb.jpg","2025-10-30",{"adult":5,"backdrop_path":181,"genre_ids":182,"id":184,"title":185,"original_language":17,"original_title":185,"overview":12,"popularity":186,"poster_path":187,"release_date":188,"softcore":5,"video":5,"vote_average":135,"vote_count":36},"\u002F3GnVsH1PGg4q63mftVK2GlqaRLT.jpg",[183,10],35,1398630,"Portrait of a Propagandist",0.1977,"\u002F9wRRsMwVPhT1kVqjdbfdEiHkcIz.jpg","2023-08-18",{"adult":5,"backdrop_path":6,"genre_ids":190,"id":191,"title":192,"original_language":120,"original_title":193,"overview":194,"popularity":195,"poster_path":196,"release_date":197,"softcore":5,"video":5,"vote_average":162,"vote_count":36},[10],637230,"Le Goût du secret","Le goût du secret","Accompagné de mon frère, je filme les fantômes qui hantent notre mère, rescapée des camps de déportation khmers rouges au Cambodge et qui a toujours refuseì de nous parler de son passeì. Agacés par son silence, mon frère et moi nous lançons dans notre propre quête de mémoire, qui passe par une plongée initiatique dans l'horreur des génocides auprès d'Antoine, petit-fils de rescapés du génocide arménien de 1915, photographiant les fantômes de sa famille et de son peuple au Moyen-Orient.",1.0888,"\u002FspLC8AfCJvBGL4a4tRZ0aXpO2pU.jpg","2020-01-08",{"adult":5,"backdrop_path":199,"genre_ids":200,"id":201,"title":202,"original_language":120,"original_title":202,"overview":203,"popularity":204,"poster_path":205,"release_date":206,"softcore":5,"video":5,"vote_average":7,"vote_count":7},"\u002F4aGDJA92uH1tNSVKlNcxf7beWGQ.jpg",[10],1566723,"NÉANTS","L’Œil explore des paysages silencieux où nature et absence cohabitent. Entre mémoire des lieux et résilience face au temps, le film oscille entre beauté et vertige existentiel, capturant ce qui persiste et ce qui s’efface.",1.2313,"\u002F9RpCwVaWpY2mpGdq4qUGwC6RayC.jpg","2025-10-22",{"adult":5,"backdrop_path":208,"genre_ids":209,"id":210,"title":211,"original_language":68,"original_title":212,"overview":213,"popularity":214,"poster_path":215,"release_date":216,"softcore":5,"video":5,"vote_average":172,"vote_count":56},"\u002FbcTd9QioJAYtXMNUS05FLoTSBCZ.jpg",[10],273110,"Mémoire Fertile","الذاكرة الخصبة","Premier long métrage tourné dans la « Ligne verte » contestée de Cisjordanie palestinienne, FERTILE MEMORY est le premier long métrage de Michel Khleifi, réalisateur acclamé du triomphe du Festival de Cannes, MARIAGE EN GALILEE. Mêlant lyriquement des éléments documentaires et narratifs, Khleifi dresse avec talent et amour le portrait de deux femmes palestiniennes dont les luttes individuelles définissent et transcendent les politiques qui ont déchiré leurs maisons et leurs vies.",0.4393,"\u002FiFP507QDdWLduRZzzGviQrsZ77q.jpg","1981-05-15",11778,235555,{"results":220},{},{"results":222},[],45,"Un récit documentaire qui fait souvent mouche.",[]]