{"id":562,"date":"2019-04-22T11:54:04","date_gmt":"2019-04-22T11:54:04","guid":{"rendered":"https:\/\/promo-theme.com\/mato\/?page_id=562"},"modified":"2026-01-22T13:34:11","modified_gmt":"2026-01-22T12:34:11","slug":"accueil","status":"publish","type":"page","link":"https:\/\/impactfilm.fr\/en\/","title":{"rendered":"Accueil"},"content":{"rendered":"
\n
\n
\n
<\/div>\n
<\/div>\n
<\/div>\n <\/div>\n <\/div>\n
\n <\/div>\n
\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Promis le ciel<\/h2>\n <\/div>\n
Un film de Erige Sehiri<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Furcy, n\u00e9 libre<\/h2>\n <\/div>\n
Un film de Abd al Malik<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Louise<\/h2>\n <\/div>\n
Un film de Nicolas Keitel<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Des preuves d'amour<\/h2>\n <\/div>\n
Un film d'Alice Douard
\nSemaine de la critique, Cannes 2025
\nPrix du public, Festival de Films francophones Cinemania, Montr\u00e9al, 2025
\nFilm Fest d'Hamburg, 2025
\nMention sp\u00e9ciale au festival du film de Zurich, 2025
\nFestival du film de Sao Paulo, 2025
\nFestival Outfest, Los Angeles, 2025
\nFestival Tapis Rouge, Amsterdam, 2025<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Classe moyenne<\/h2>\n <\/div>\n
Un film d'Anthony Cordier
\nQuinzaine des cin\u00e9astes, Cannes, 2025
\nPrix du Meilleur Second R\u00f4le pour Sami Outalbali, au festival du Cin\u00e9ma Fran\u00e7ais d'Aix-les-Bains, 2025
\nPrix du public au festival de Vannes, 2025<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Le sang et la boue<\/h2>\n <\/div>\n
Un film de Jean-Gabriel Leynaud
\nPrix du film documentaire 2025 \u00e0 Durban<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Ballroom, danser pour exister<\/h2>\n <\/div>\n
Un film d'Amandine Gay<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Des jours meilleurs<\/h2>\n <\/div>\n
A film by Elsa Bennett and Hippolyte Dard<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

La Pampa<\/h2>\n <\/div>\n
A film by Antoine Chevrollier<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Une vie r\u00eav\u00e9e<\/h2>\n <\/div>\n
A film by Morgan Simon<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

A little something extra<\/h2>\n <\/div>\n
A film by Artus<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Une affaire de principe<\/h2>\n <\/div>\n
A film by Antoine Raimbault<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Les Vieux<\/h2>\n <\/div>\n
A film by Claus Drexel<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Sisterhood<\/h2>\n <\/div>\n
A film by Nora El Hourch<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Vermin<\/h2>\n <\/div>\n
A film by S\u00e9bastien Vani\u010dek<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Levante<\/h2>\n <\/div>\n
A film by Lillah Halla<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Tutti<\/h2>\n <\/div>\n
A film by Julien Mas & Edmond Carr\u00e8re<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Last Dance<\/h2>\n <\/div>\n
A documentary film by Coline
\nAbert<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Youssef Salem a du succ\u00e8s<\/h2>\n <\/div>\n
A film by Baya Kasmi<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Sammy by Sammy<\/h2>\n <\/div>\n
A documentary film by Aurore Aubin<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

\u00c0 la vie<\/h2>\n <\/div>\n
A documentary film by Aude P\u00e9pin<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

K contraire<\/h2>\n <\/div>\n
A film by Sarah Marx
\nOrizzonti selection \u2013 Mostra 2018<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Filles de joie<\/h2>\n <\/div>\n
A film by Fr\u00e9d\u00e9ric Fonteyne et Anne Paulicevich<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

Papicha<\/h2>\n <\/div>\n
A film by Mounia Meddour
\nUn certain regard selection \u2013 Cannes 2019
\nC\u00e9sar for the best first film and C\u00e9sar for the best female hopeful for Lyna Khoudri
\nAudience award at the french-speaking festival of Angoul\u00eame<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

La Source<\/h2>\n <\/div>\n
A film by Rodolphe Lauga<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n
<\/div>\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n\n
\n
\n
\n
\n
Movies that go far beyond the screen<\/div>\n

My favorite fabric<\/h2>\n <\/div>\n
A film by Gaya Jiji
\nUn certain regard selection \u2013 Cannes 2018<\/div>\n \n \n <\/use>\n <\/svg>\n <\/i>\n <\/i>\n Trailer<\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/section>\n\n <\/div><\/div><\/div>
<\/div><\/div><\/div><\/div>
<\/div>
\n

First investment tool for movies that go far beyond the screen<\/span><\/h2>\n <\/div>\n <\/div><\/div><\/div>
\n
Our mission is to fight stereotypes <\/span> in cinema and television by fostering the production and distribution of movies and series to change the way people perceive social issues<\/span> such as cultural diversity or the role of women in society.<\/h5>\n <\/div>\n \n\t
\n\t\t
\n\t\t\t

We intervene either by financing films and series already dealing with the issues it supports, or by working directly on the scripts to erase the clich\u00e9s they contain or place these causes directly.<\/p>\n

We use the traditional investment model to drive a shift in consciousness.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

\n

The causes we are supporting are<\/h2>\n <\/div>\n
\n
\n
\n <\/i>\n
\n
Social cohesion & equal opportunities<\/h5>\n
(social, ethnic, sexual, disability, those who are not seen)<\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n <\/i>\n
\n
Women\u2019s empowerment<\/h5>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n <\/i>\n
\n
Major societal issues<\/h5>\n
citizenship, democracy, freedom<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div><\/div><\/div><\/div>
\n\t
\n\t\t\n\t\t
\n\t\t\t
\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>
\n\t
\n\t\t\n\t\t
\n\t\t\t
\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>
\n\t
\n\t\t\n\t\t
\n\t\t\t
\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div>
\n\t
\n\t\t\n\t\t
\n\t\t\t
\"\"<\/div>\n\t\t<\/figure>\n\t<\/div>\n<\/div><\/div><\/div><\/div>
<\/span><\/div>\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t

Films & series co-produced
\nor co-distributed<\/span><\/h3>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Promis le ciel<\/h5>\n\t\t\t\t\t
2026, Soci\u00e9t\u00e9<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Furcy, n\u00e9 libre<\/h5>\n\t\t\t\t\t
2026, Soci\u00e9t\u00e9<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Louise<\/h5>\n\t\t\t\t\t
2025, Soci\u00e9t\u00e9<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Des preuves d'amour<\/h5>\n\t\t\t\t\t
2025, Soci\u00e9t\u00e9<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Classe moyenne<\/h5>\n\t\t\t\t\t
2025, Com\u00e9die<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Le sang et la boue<\/h5>\n\t\t\t\t\t
2025, Documentaire<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Ballroom, danser pour exister<\/h5>\n\t\t\t\t\t
2025, Documentaire<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Des jours meilleurs<\/h5>\n\t\t\t\t\t
2025, Com\u00e9die<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
La Pampa<\/h5>\n\t\t\t\t\t
2025, Drame<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
Une vie r\u00eav\u00e9e<\/h5>\n\t\t\t\t\t
2024, Drame<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t
A little something extra<\/h5>\n\t\t\t\t\t
2024, Com\u00e9die<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/a>\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/div><\/div><\/div>
\n
\n
<\/div>\n <\/div>\n\n
<\/div><\/div><\/div><\/div>
<\/div>
\n

Our team<\/h2>\n <\/div>\n <\/div><\/div><\/div>
\n\t
\n\t\t
\n\t\t\t

ImpactFilm is powered by a non-profit association under the French law of 1901, driven by a team of passionate volunteers with complementary expertise in cinema and television, specialized in financial and legal support, and united by the belief that images can change the world: Hubert Caillard, Rapha\u00ebl Daniel, Caroline Dhainaut, Maud Leclair, Camille Segura, and Olivier Saby.<\/p>\n

The association has notably committed to advancing research on this topic by founding theObservatoire des images<\/a>, the first French non-profit organization providing academic expertise on stereotypes in cinema, television, advertising, <\/span>and video games.<\/span><\/p>\n

Our work has been featured by Le Monde<\/a>, Les Echos,<\/a>\u00a0Ecran total,<\/a> Le Point<\/a>, So Good, la Gazette des communes<\/a>, le Nouvel Obs<\/a>, le Film fran\u00e7ais and Marie Claire.<\/a><\/p>\n

Olivier Saby, co-founder of ImpactFilm, published the editorial Breaking the chains of stereotypical representations<\/em><\/a>following the urban riots of summer 2023.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

<\/div>
\n
<\/div>\n
<\/div>\n
\n
\n
\n
I want the movie to start once you've left the cinema.<\/div>\n
Jacques Tati<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div><\/div><\/div><\/div>
\n

Our partners<\/h2>\n <\/div>\n
\n
\n
\n
\n \n \"\" <\/a>\n <\/div>\n <\/div>\n
\n
\n \n \"\" <\/a>\n <\/div>\n <\/div>\n
\n
\n \n \"\" <\/a>\n <\/div>\n <\/div>\n
\n
\n \n \"\" <\/a>\n <\/div>\n <\/div>\n
\n
\n \n \"\" <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div><\/div><\/div><\/div>
<\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"Sortie le 1er mai 2024 Pour \u00e9chapper \u00e0 la police, un fils et son p\u00e8re en cavale sont contraints de trouver refuge dans une colonie de vacances pour jeunes adultes en situation de handicap, se faisant passer pour un pensionnaire et son \u00e9ducateur sp\u00e9cialis\u00e9. Le d\u00e9but des emmerdes et d\u2019une formidable exp\u00e9rience humaine qui va [...]","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-landing.php","meta":{"footnotes":""},"class_list":["post-562","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/pages\/562","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/comments?post=562"}],"version-history":[{"count":175,"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/pages\/562\/revisions"}],"predecessor-version":[{"id":2455,"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/pages\/562\/revisions\/2455"}],"wp:attachment":[{"href":"https:\/\/impactfilm.fr\/en\/wp-json\/wp\/v2\/media?parent=562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}