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Un voyage à l'intérieur de ces lieux indistincts qu'on appelle la banlieue. Des rencontres : une femme de ménage à Roissy, un ferrailleur au Bourget, une infirmière à Drancy, un écrivain à Gif-sur-Yvette, le suiveur d'une chasse à courre en vallée de Chevreuse et la cinéaste qui revisite le lieu de son enfance. Chacun est la pièce d'un ensemble qui compose un tout. 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Tim Maltin, de son côté, est déterminé à prouver que ces théories sont erronées. Dans son récent ouvrage à succès, il met en lumière des preuves oubliées et des détails négligés, révélant pourquoi le Titanic a sombré. Tim Maltin affirme qu'il ne s'agissait ni d'une erreur de la part du commandant, ni même d'un vice de fabrication du paquebot. 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Cet essai, remarquable par le ton employé : \"Solanas a cerné le cœur de la domination masculine, en a saisi le langage et l’a entièrement condamné dans un éclat de rire assassin\", sera réédité parallèlement en août 1968 par Maurice Girodias pour Olympia Press, aux U.S.A., avec une seconde édition en 1971.  \"S.C.U.M.\" (Society for Cutting Up Men) est un acronyme inventé de toutes pièces par Girodias.",[11],0.2174,"\u002F5vBqDRVGE2108ZuV0JxE1hsFBr7.jpg","1976-01-01",5.222,{"id":149,"adult":6,"title":150,"video":6,"overview":34,"softcore":6,"genre_ids":151,"popularity":152,"vote_count":104,"poster_path":153,"release_date":154,"vote_average":155,"backdrop_path":156,"original_title":150,"original_language":41},794252,"Riotsville, USA",[11,131],0.7595,"\u002Fiksb0f8B0hlpqYWRSqBXK4pyZrv.jpg","2022-09-16",4.9,"\u002FkxACsEK9EkgLradSfkJ6lKq1Ieq.jpg",{"id":158,"adult":6,"title":159,"video":6,"overview":34,"softcore":6,"genre_ids":160,"popularity":161,"vote_count":8,"poster_path":26,"release_date":162,"vote_average":8,"backdrop_path":26,"original_title":159,"original_language":41},256879,"Bronx Irish at the Ramparts",[11],0.1826,"1984-01-01",{"id":164,"adult":6,"title":165,"video":6,"overview":34,"softcore":6,"genre_ids":166,"popularity":167,"vote_count":8,"poster_path":168,"release_date":169,"vote_average":8,"backdrop_path":26,"original_title":165,"original_language":41},257137,"Marathon",[11],0.2515,"\u002FUcSt0SUVTw24RkKYlKXtVRb1m6.jpg","1965-01-01",{"id":171,"adult":6,"title":172,"video":6,"overview":34,"softcore":6,"genre_ids":173,"popularity":174,"vote_count":29,"poster_path":175,"release_date":176,"vote_average":29,"backdrop_path":26,"original_title":172,"original_language":41},261614,"John Ford & Monument Valley",[11],0.2614,"\u002FaNljkM3sw1Bb66bx6C5S0eIkyql.jpg","2013-03-05",{"id":178,"adult":6,"title":179,"video":6,"overview":180,"softcore":6,"genre_ids":181,"popularity":182,"vote_count":183,"poster_path":184,"release_date":185,"vote_average":186,"backdrop_path":187,"original_title":188,"original_language":41},4539,"Aux cœurs des ténèbres : L'Apocalypse d'un metteur en scène","En février 1976, Francis Ford Coppola s'installe avec son équipe et toute sa famille aux Philippines pour tourner son huitième film, \"Apocalypse Now\". A sa demande, sa femme Eleanor suit avec sa caméra le tournage du film, tient un journal et enregistre leurs conversations. \"Au cœur des ténèbres\" est le film du film. 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Elle ne me répond pas, alors je trouve des réponses ailleurs, dans des archives, auprès d’un choeur de femmes et dans des gestes de cinéma que je fais. Je veux percer le mystère de ma mère, je découvre le mouvement des femmes des années 1970, un cinéma militant féministe, et la femme cinéaste que je suis change. Ainsi, le mode de fabrication de mon film rejoint celui des militantes que je rencontre et témoigne de la transmission d’une mémoire des luttes féministes par la pratique cinématographique collective.",0.0768,2,"\u002FpZP2QiLQguEJo5aDMUG3NSLrMFB.jpg","2022-06-08",7.8,"\u002FyaxB4Kf6ReDJ40SxZKEHipqLrTf.jpg",[227],"FR",{"results":229},{},[231],{"name":232,"iso_639_1":89,"english_name":233},"Français","French",[],[236],{"name":237,"iso_3166_1":227},"France",45,"Un récit documentaire qui fait souvent mouche.",[]]