THE LIST OF THE MORNING
This week, the programs switch to summer time but still reserve some good surprises for viewers looking for something new. Tender or revolting, literary or globetrotter, here are four ideas for the weekend.
“Trains like no other”: on the rails of Ethiopia
“The camera is spinning. I sit next to the passengers, and I ask them to tell themselves. ” Philippe Gougler thus explained the concept of Trains like no other, at the launch of the new formula, on July 28, 2011, marked precisely by the arrival on the screen of the globetrotter journalist. Nine years later, while competition has grown, including within France Télévisions, nothing has changed. A daring bet, no doubt reinforced by the constant success of the program and by the personality of the famous reporter.
Demonstration in Ethiopia, the first destination of the 2020 season. Philippe Gougler took his place in the dilapidated convoy which links, twice a week, Djibouti to Addis Ababa, using the line built by the French – although Ethiopia doesn’t has never been a French colony. The passengers, traders, khat traders, play the game beyond all that one can imagine. Up to an unlikely declaration of love. More serious subjects are tackled in small touches. At the head of which the overrepresentation of China in the economy, which recently inaugurated a second railway line between Addis Ababa and Djibouti, which Philippe Gougler is happy to borrow. Catherine Pacary
“Trains like no other: Ethiopia”, directed by William Japhet (Fr., 2020, 52 min). On request on France.tv until August 15.
“The Form”: the recovered memory of Joanna Flatau
The survivors of the death camps, or those who were able to escape the Nazi roundups, have, depending on the case, either their pain and their trauma or told and repeated their experience, especially with the young generations. Joanna Flatau, a young Polish Jewish child saved from the Warsaw ghetto, hidden in the countryside until the end of the war by a generous and courageous family, had chosen not to say anything about this experience. Until Filip Flatau, his son, dedicates a portrait to him during which he insists that Joanna finally tells her story.
The subject, announced by the title, The form, concerns a document intended to assert the qualification of “Righteous among the nations” of the members of the Polish family who had welcomed Joanna. But you have to give details, go back to facts and memories: Joanna balks, does not want to give her date of birth, says that she is not “Not born”, criticizes her son, and threatens to drop everything. Until Filip finds the Polish house and leads his mother on the spot, filming her with tact, finesse and simplicity, in a happy mixture of overwhelming emotion and removed humor. Renaud Machart
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