languages) to replace the versions found on the internet, which are abundant but very poor technically and often badly translated. In addition to bringing his own films back into public view, his carte blanche allowed Viénet to showcase films he had much admired by including them in his screening series: Les Chinois à Paris by Jean Yanne; Do not Let the Dead Bury their Dead (The 81st Blow) by Miriam Novich; and three documentaries by Hu Jie. René Viénet is currently researching a film on the French Revolution intended to destroy many of the myths and lies of Stalinist historians. A note on the films Between 1969 and 1972, Viénet discovered and fell in love with the contemporary cinema of Hong Kong and older Chinese classics. In the period 1972-1974 he distributed more than one hundred films to markets in Europe, the French West Indies and French-speaking Africa.His first two releases in Paris, offered with his own straightforward translations, were Du sang chez les taoïstes / 殺戒 /ShaJie and Les félons d’AnTchai 路客與刀客 LuKe Yu DaoKe. He then created the following films détournés: 1972: La Dialectique peut-elle casser des briques? / Can Dialectics Break Bricks? A first version with subtitles that repurposed or hijacked the meaning of the original film 唐手跆拳道; then, in 1973, a dubbed version supervised by Gérard Cohen extrapolating from Viénet's titles. 1974: Une petite culotte pour l’été (aka Les Filles de Kamaré), making use of a Japanese soft-porn film by Suzuki Noribumi, which Viénet hijacked via subtitles and to which he added a few hard-core inserts for a more pointed détournement.Viénet subsequently authored and directed two more complex and personal films: 1976: Mao par lui-même / Mao by Mao / 毛澤東獨白. This biographical TV-length film was based on extensive archival research and had a voice-over composed entirely of Mao's own words. Fortuitously, the film was completed just as Mao died, on 9 September 1976, and it was immediately picked up by French TV. It was later the French entry in the short film competition at the 1977 Cannes Film Festival. 1977: Chinois, encore un effort pour être révolutionnaires / Peking Duck Soup / 他們辦事，老百姓不放心'). Again based on archival research and composed largely of found footage, this feature-length film competed in the Cannes Directors Fortnight in 1977. The films were produced simultaneously in French and English versions. The English voice-over of Mao by Mao was by Jack