“I had the idea to call my film ICI ET MAINTENANT, because the cinema is exactly the contrary of the here and now. The cinema is always elsewhere and before…It seemed important to rediscover the magic of the present, that is the here and now. I wanted the spectator during the film to return to himself and thus not to participate in the usual process of identification where he is able to escape from himself” (Serge Bard). Emblematic of the Zanzibar movement’s youthful, revolutionary zeal, the title of Bard’s film Ici et maintenant is a “seize the day” clarion call, fitting for a generation who sought to change the world. Shot in Brittany, with Caroline de Bendern and Olivier Mosset who were lovers at the time, and no script, the film took as its subject the idea of “contestation .” With its loose, radicalized narrative, and hyper-aestheticized flamboyance, Ici et maintenant depicts a series of symbolic attacks against society and an atomic factory threatened by sketchy characters. This was the final film Bard made before decamping for Africa and clandestinely converting to Islam, expeditiously sending his film crew, many of whom had worked on Ici et maintenant, back to Paris, bewildered.