Paris, May 1931. Black culture is in vogue at the same time that a great colonial exhibition displays the peoples of the world subjugated by the French Empire. It is then that a group of researchers travels to Africa and undertakes an ambitious ethnographic mission. On their way from Dakar to Djibouti, they collect a large number of objects destined for the Musée de l'Homme. Is it a well-intended adventure or a great plunder?
“I met Gordon Matta-Clark at the 1975 Paris Biennale. He was looking for a place to make a piece. I led him to a building across the street from my place on rue Beaubourg that I had been taking photos of for the past year and which was about to be demolished. In front of my eyes Conical Intersect became the last unexpected and dazzling resident of 29 rue Beaubourg.” —Marc Petitjean
In Japan, more than four million young people survive by taking on precarious jobs. They are called “freeters”. The film gives voice to these “discard-after-use” workers, who regard their situation with both lucidity and desperation, as well as to ex-freeters who have become activists in the fight against exclusions.
