This documentary consists mainly of archive interviews of Jean Cocteau, and it features interesting contributions by Jean Marais and especially Jean-Luc Godard, who discusses Cocteau's foray into cinema. The film documents all the artistic media explored by a man who defined himself, first and foremost, as a poet.

Jean Cocteau reminisces about the people he has known throughout his long life.

Filmmaker Marc Caro interviews Claude Pinoteau, assistant director of Jean Cocteau's 1950 film ORPHEUS, about the special effects used in the film.

In August 1963, just a couple of months before his death, Jean Cocteau made one last short film. The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was sealed and stored with the understanding that it would be opened only in the year 2000. As it turned out, it was discovered and exhumed a few years shy of that date. Where in The Testament of Orpheus Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state. By the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead.

A short video by filmmaker Noel Simsolo discussing Jean Cocteau and Jean-Pierre Melville’s creative relationship and the production of the 1950 film LES ENFANTS TERRIBLES.

French artist Jean Cocteau's multifaceted work across poetry, plays, paintings and film made him one of the leading creative figures of the Parisian avant-garde movement. Featuring Cocteau's own writings read by actor Timothée Chalamet, explore the dream-like quality of Cocteau's one of a kind oeuvre.

Doc on Jean Cocteau's The Blood of a Poet

Cocteau, at his home, remembers his childhood, talks at length about theater, cinema, literature, and draws portraits of friends.

Jean Cocteau (1889-1963), was a French poet, novelist, dramatist, designer, and filmmaker, whose versatility, unconventionality, and enormous output brought him international acclaim. As a leading member of the surrealist movement, he had a great influence on the work of others.

Correspondences are fragments of life seized in the flesh of the great History. The one between Pablo Picasso and Jean Cocteau explores forty-eight years of a complex and tormented artistic friendship. Through their letters, the film unfolds the story of a talent and a genius, a unique story that sweeps across the artistic and political spectrum of fifty years of the twentieth century: cubism, Russian ballets, Guernica, the Occupation and the purge, Dora Maar, Jean Marais, Cocteau's film poetry, Picasso's ceramics and the Mediterranean sky.

In this, queer re-interpretation of Jean Cocteau's timeless classic, an actor has a breakdown, pining for their love, locked in a green room before they are supposed to go onstage.

In September 2008, at the crack of dawn, a small film crew met in a house in Provence to give substance to a memory. During his childhood, whilst watching television, Vincent Dieutre heard Jean Cocteau’s La Voix humaine—created by Berthe Bovy with the Comédie française in 1930. He set out to find what so troubled him at the time in this “firestorm of words” and shot a “clandestine, feverish film” as an exercise in admiration as night falls.

A short film about a famous writer (acted by Cocteau himself) who loses control of his hand and begins to write letters and articles denouncing himself.

In 1959, Jean Cocteau looked back on his artistic journey for the Télé Monte-Carlo television show Tout la vérité, rien que la vérité. The program ends with a tasty anecdote about television that Cocteau describes as a “box of tricks”. A few weeks later, in the same Victorine studios, Cocteau directed most of the sequences for his last opus: The Testament of Orpheus (1959).