Olivier Azam

"Je sifflote l’Internationale pendant 8 secondes dans mon précédent film. La SDRM exige une somme de 8000 €. Le président d’ATTAC place l’argent du Fond Social Européen dans un fond de pension. Arte diffuse un documentaire sur des représentations de détenus dans la représentation d’une prison. J’embrasse Natalia profitant ainsi de ma position de réalisateur. Zaléa TV verse un loyer à la Mairie de Paris. J’exige ma mise en examen".

Interview with Bruno Muel and Christian Corouge, former members of Sochaux's Medvedkine group, filmed at La Hestejada de las arts in Uzeste, by Olivier Azam (co-founder and member of the Mutins de Pangée cooperative). "A trace in the collective and working-class memory". (Christian Corouge)

Interview with Bruno Muel and Christian Corouge, former members of Sochaux's Medvedkine group, filmed at La Hestejada de las arts in Uzeste, by Olivier Azam (co-founder and member of the Mutins de Pangée cooperative). "A trace in the collective and working-class memory". (Christian Corouge)

Interview with Bruno Muel and Christian Corouge, former members of Sochaux's Medvedkine group, filmed at La Hestejada de las arts in Uzeste, by Olivier Azam (co-founder and member of the Mutins de Pangée cooperative). "A trace in the collective and working-class memory". (Christian Corouge)

Interview with Bruno Muel and Christian Corouge, former members of Sochaux's Medvedkine group, filmed at La Hestejada de las arts in Uzeste, by Olivier Azam (co-founder and member of the Mutins de Pangée cooperative). "A trace in the collective and working-class memory". (Christian Corouge)

Interview with Bruno Muel and Christian Corouge, former members of Sochaux's Medvedkine group, filmed at La Hestejada de las arts in Uzeste, by Olivier Azam (co-founder and member of the Mutins de Pangée cooperative). "A trace in the collective and working-class memory". (Christian Corouge)

Interview with Bruno Muel and Christian Corouge, former members of Sochaux's Medvedkine group, filmed at La Hestejada de las arts in Uzeste, by Olivier Azam (co-founder and member of the Mutins de Pangée cooperative). "A trace in the collective and working-class memory". (Christian Corouge)

From falsehood to mystification to manipulation and false impartiality, the whole logic of disinformation and brutality is brought to light. When the king of the media and his politico-journalistic buffoons are sifted by a radical counter-audiovisual power, the discredit of the "elites" sanctioned by the referendum of May 29, 2005 is better understood. With this film, Zalea TV's team had decided to laugh about it and make them laugh, even if at bottom these discoveries were rather disturbing. By staging a series of very simple techniques of "self-defense", this film is an invitation to self-disengage permanently. The use of the TV-B Gone, an instrument whose sole function is to turn off the television, appears here as the ultimate resort to media criticism.

From falsehood to mystification to manipulation and false impartiality, the whole logic of disinformation and brutality is brought to light. When the king of the media and his politico-journalistic buffoons are sifted by a radical counter-audiovisual power, the discredit of the "elites" sanctioned by the referendum of May 29, 2005 is better understood. With this film, Zalea TV's team had decided to laugh about it and make them laugh, even if at bottom these discoveries were rather disturbing. By staging a series of very simple techniques of "self-defense", this film is an invitation to self-disengage permanently. The use of the TV-B Gone, an instrument whose sole function is to turn off the television, appears here as the ultimate resort to media criticism.

From falsehood to mystification to manipulation and false impartiality, the whole logic of disinformation and brutality is brought to light. When the king of the media and his politico-journalistic buffoons are sifted by a radical counter-audiovisual power, the discredit of the "elites" sanctioned by the referendum of May 29, 2005 is better understood. With this film, Zalea TV's team had decided to laugh about it and make them laugh, even if at bottom these discoveries were rather disturbing. By staging a series of very simple techniques of "self-defense", this film is an invitation to self-disengage permanently. The use of the TV-B Gone, an instrument whose sole function is to turn off the television, appears here as the ultimate resort to media criticism.

From falsehood to mystification to manipulation and false impartiality, the whole logic of disinformation and brutality is brought to light. When the king of the media and his politico-journalistic buffoons are sifted by a radical counter-audiovisual power, the discredit of the "elites" sanctioned by the referendum of May 29, 2005 is better understood. With this film, Zalea TV's team had decided to laugh about it and make them laugh, even if at bottom these discoveries were rather disturbing. By staging a series of very simple techniques of "self-defense", this film is an invitation to self-disengage permanently. The use of the TV-B Gone, an instrument whose sole function is to turn off the television, appears here as the ultimate resort to media criticism.

From falsehood to mystification to manipulation and false impartiality, the whole logic of disinformation and brutality is brought to light. When the king of the media and his politico-journalistic buffoons are sifted by a radical counter-audiovisual power, the discredit of the "elites" sanctioned by the referendum of May 29, 2005 is better understood. With this film, Zalea TV's team had decided to laugh about it and make them laugh, even if at bottom these discoveries were rather disturbing. By staging a series of very simple techniques of "self-defense", this film is an invitation to self-disengage permanently. The use of the TV-B Gone, an instrument whose sole function is to turn off the television, appears here as the ultimate resort to media criticism.

From falsehood to mystification to manipulation and false impartiality, the whole logic of disinformation and brutality is brought to light. When the king of the media and his politico-journalistic buffoons are sifted by a radical counter-audiovisual power, the discredit of the "elites" sanctioned by the referendum of May 29, 2005 is better understood. With this film, Zalea TV's team had decided to laugh about it and make them laugh, even if at bottom these discoveries were rather disturbing. By staging a series of very simple techniques of "self-defense", this film is an invitation to self-disengage permanently. The use of the TV-B Gone, an instrument whose sole function is to turn off the television, appears here as the ultimate resort to media criticism.