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For the Moon (Car la lune) is Éric Baudelaire’s 2026 documentary made in collaboration with students at Paris’s National Institute for Blind Youth. Five students use cameras to film and explore their surroundings, and their footage helps shape the film’s point of view. That makes its perspective casually radical: the students are not only people the camera looks at, but filmmakers whose images and observations become part of the work.
What is For the Moon about?
Film at Lincoln Center describes the film as an improvisatory collaboration with school-age students who explore the world around them through cameras, music, art and observation. Their distinct expressions are brought together into a subjective cinematic whole. Rather than presenting a single, authoritative account of blindness, the film makes room for different ways of speaking, making images and relating to the camera.
Baudelaire gave five students Sony Handycams, according to Mark Asch’s review. The review describes some participants as fully blind and others as severely visually impaired. It does not identify the camera models.
How does the students’ footage change the film?
The students’ filming is part of the documentary’s form, not just material gathered in the background. Asch describes early experiments with off-center framing and images that sometimes become abstract, as the students find their way through the practical act of recording. Their camera work gives the film a perspective shaped by the people it follows, rather than one imposed entirely by an outside observer.
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The intimacy also comes through in direct address. Asch notes that students speak to the camera about blindness, music, private memories and how they want to appear. Kadiatou, as quoted in Asch’s review, reflects on balancing technique with spontaneity: “has to be properly shot and all that”, but also “appearing natural, and filming according to our intuition. I think intuition is more beautiful than something that’s scripted or staged or precise.”
What does the film suggest about sight and perspective?
One sequence, as described by Asch, follows Iris after her second enucleation. Voice memos play over black; later, her camera records the room and the view outside, although she can no longer see them. Asch reads this passage as a challenge to the familiar idea of seeing the world through another person’s eyes. The images invite a more complicated question: what can a camera show, and whose perspective does its recording express?
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That is a critical interpretation of the sequence, rather than a simple claim about what the film proves. Its force comes from the tension between the camera’s visible images and Iris’s relationship to them.
Who made the film, and what are its details?
| Detail | Information |
|---|---|
| Director | Éric Baudelaire |
| Original title | Car la lune |
| Country and year | France, 2026 |
| Runtime | 88 minutes, according to Film at Lincoln Center’s 2026 listing |
| Language | French with English subtitles |
| Editing | Claire Atherton worked with Baudelaire on assembling the footage, according to Asch’s review; the festival listing also presents Baudelaire and Atherton together |
| Festival listing | Currents section of the 64th New York Film Festival; Film at Lincoln Center listed screenings for October 6 and 7, 2026 |
Where can you watch For the Moon?
Film at Lincoln Center identifies For the Moon as a Cinema Guild release. That release note does not specify a streaming service, home-video edition or current viewing availability, so it is not enough to establish where the film can be watched now.
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