Comprising a rhythmic flow of still images, film movement is by nature immaterial. Narrative cinema prioritised the development of dramatic movement and the power of fiction to immaterialise any imaginative production (from the invisible to the incredible shrinking man).
Born to see and know movement, film, in so far as its scientific use was concerned, continued to explore phenomena of all kinds, and particularly in spatial terms(from the infinitely tiny to the extremely accelerated). In contrast, an ummediated, raw recording can be a curiosity displaying unusual temporal-spatial qualities. But cinema was also comprehended in its own right by artists who did not restrict themselves to the purely photographic cinema but also practiced graphic, electronic (also called video) and even holographic cinema …
Such are the many determinations and possibilities proper to film, which make it one of the “sites” of the “Immatériaux”. 45 screenings of films and videos - narrative, scientific cinema, straightforward documentation, artists’films, grouped in relation to other thematic exhibition “sites”.

Toutes les histoires (All the Stories)
Hybrides analogiques et numeriques (Analogue and digital hybrids)
Mouvement des Couleurs (Colour Movements)
Crises Immaterielles (Immaterial Crises)
Peaux sur peaux (Skin on Skin)
Representants de la Representation (Representatives of Representation )
Eclats de lumière (Shards of Light)
Machines de Cinema (Cinema Machines)
Objectif Lune (Destination: Moon)
Voir /Nommer /Nombrer (See/Name/Enumerate)
Aventures de la Perception I (Adventures in Perception I)
Anemie et force du Cinema (The Power and Anemia of Cinema)
Dimension (Dimension)
Aventures de la Perception II (Adventures in Perception II)
Grain d’Eclairage (Lighting Grain)