Seymour "Sy" Parrish (Robin Williams) is a photo technician at SavMart's one-hour photo developing clinic. He leads a solitary life outside of the "heaven-like" hyperreality atmosphere of the department store. Every day he labors to ensure his customers get the best quality photos possible. His work is his life, as he has no one and nothing to go home to at the end of each day; he spends his evenings sitting alone in his barren living room, watching television. The only thing in Sy's apartment he has for companionship is a hamster, caged in his bedroom. His favorite customers are the Yorkin family: husband Will (Michael Vartan), wife Nina (Connie Nielsen), and their son Jake (Dylan Smith). He has developed their photos for years and has developed an obsession with the family. He idolizes their happiness and affluence, memorizing every personal detail about them, and begins to associate with them more and more hoping to become a part of their lives.
The plot is a day in the life of a glamorous fashion photographer, Thomas (Hemmings), inspired by the life of an actual "Swinging London" photographer, David Bailey. After spending the night at a doss house where he has taken pictures for a book of art photos, Thomas is late for a photo shoot with Veruschka at his studio, which in turn makes him late for a shoot with other models later in the morning. He grows bored and walks off, leaving the models and production staff in the lurch. As he leaves the studio, two teenage girls who are aspiring models (Birkin and Hills) ask to speak with him, but the photographer drives off to look at an antiques shop. Wandering into Maryon Park, he takes photos of two lovers. The woman (Redgrave) is furious at being photographed. The photographer then meets his agent for lunch, and notices a man following him and looking into his car. Back at his studio, Redgrave arrives asking for the film, but he deliberately hands her a different roll. She in turn writes down a false telephone number to give to him. His many enlargements of the black and white film are grainy but seem to show a dead body in the grass and a killer lurking in the trees with a gun. He is disturbed by a knock on the door, but it is the two girls again, with whom he has a romp in his studio and falls asleep.
A successful Paris lawyer with a seemingly perfect life discovers that his wife is having an affair and accidentally kills her lover in a moment of madness. He escapes the law by faking his own death, assuming his victim's identity, and making a fresh start on the Adriatic coast as a photographer. This eventually leads him to realise what was missing in his life before: he finally sees the big picture.
Diane Arbus, assistante de son mari, photographe, n'en peut plus de la vie qu'elle mène dans un milieu où seules les apparences comptent. Un soir, elle remarque son nouveau voisin qui emménage à l'étage. Après l'avoir aperçu, Diane est de plus en plus intriguée car celui-ci dissimule son visage derrière un masque où seuls ses yeux sont visibles. Très attirée, elle finit par monter avec un appareil-photo. Son art se transformera à jamais.
L’incroyable histoire d’une mystérieuse inconnue, photographe reconnue aujourd’hui comme l’une des plus grandes Street Photographers du 20ème siècle. Née à New York, d’une mère française, avant de résider à Chicago, Vivian Maier était inséparable de son Rolleiflex et prit tout au long de son existence plus de 100 000 photographies sans jamais les montrer. Pour être libre d’exercer son art quand elle le voulait, Vivian Maier fut une nanny excentrique toute sa vie. ..
A man (Davos Hanich) is a prisoner in the aftermath of World War III in post-apocalyptic Paris where survivors live underground in the Palais de Chaillot galleries. Scientists research time travel, hoping to send test subjects to different time periods "to call past and future to the rescue of the present". They have difficulty finding subjects who can mentally withstand the shock of time travel. The scientists eventually settle upon the prisoner; his key to the past is a vague but obsessive memory from his pre-war childhood of a woman (Hélène Chatelain) he had seen on the observation platform ("the jetty") at Orly Airport shortly before witnessing a startling incident there. He had not understood exactly what happened but knew he had seen a man die.
Servais Mont, a photographer, meets Nadine Chevalier who earns her money starring in cheap soft-core movies. Trying to help her, he borrows the money from the loan sharks to finance the theatrical production of Richard III and gives Nadine a part. Nadine is torn between Servais, with whom she is falling in love, and her husband Jacques, to whom she has moral obligations.
Le documentaire porte sur le photographe de guerre américain James Nachtwey. Dans l'un des innombrables foyers de guerre de la planète, au cœur de la souffrance, de la mort, de la douleur et du chaos, le photographe James Nachtwey cherche l'image dont il pense qu'elle pourra être publiée.
Alice, jeune photographe, remplace un photographe renommé qui a mystérieusement disparu. Elle tente de reproduire les mêmes photos qu'il a fait l'année précédente, le même jour à la même heure, et comprend petit à petit le regard de l'autre photographe.
German writer Philip Winter has missed his publisher's deadline for writing an article about the United States. He decides to return to Germany, and encounters a German woman, Lisa, and her daughter, Alice, who are both doing the same thing. After Lisa leaves Alice temporarily in Phil's care, it quickly becomes apparent that he will have to look after her for longer than he expected. Phil finds himself stuck with Alice, searching various cities of Germany for her grandmother, whose name and address Alice cannot remember. The only clue they have is a photograph of her grandmother's front door with no house number and no one in the shot.
À travers les planches contacts de son reportage dans l'asile psychiatrique de San Clemente., le réalisateur Raymond Depardon s'interroge sur son travail de photographe. Le regard voyeur de celui qui capte la douleur. Le dialogue, le contact, qui s'instaure avec ceux qui sont photographiés. "J'ai aimé photographier les murs, les gens contre les murs. [...] cette impression de tourner en rond, sans sortie de secours, il n'y a plus de porte. Le photographe est là, il ressemble à un nouvel arrivé, un nouveau pensionnaire, on le voit tous les jours, ce n'est pas un médecin, ni un infirmier. Il n'est pas du métier. Il tourne lui aussi. Il cherche quelque chose, il a l'air sympathique, pas encore très à l'aise, il ne parle pas.
Dans ce film, le photojournaliste de l'agence Magnum, filmé en gros plan, présente et raconte ses documents et souvenirs photographiques de 1957 à 1977, c'est-à-dire les vingt premières années de son travail photographique, depuis ses premiers clichés dans la ferme de ses parents jusqu'aux films sur le Tchad. Réalisé en 1983, il est sorti en 1984 et a reçu le Prix des Rencontres d'Arles cette même année.
Franck Bordoni (Patrick Timsit) loses job as a night watchman when he finds himself inadvertently on the front cover of a popular magazine. The photograph was taken while he was enjoying a football match instead of working. Deciding to punish the photographer, Franck visits the magazine’s offices and finds Michel Verdier (Vincent Lindon), a member of the paparazzi pack. Franck clings to Michel, and fascinated by work and eager to serve as an apprentice. Franck immerses himself in exciting new life (and Isabelle Adjani’s dustbins), however he hardly notices former life (including wife and son) disappear.