“Last May, we took the floor like we took the Bastille in 1789,” Michel de Certeau wrote in 1968. Taking the floor also included taking pictures. Authority figures were toppled in a matter of weeks. Demonstrating, occupying places of power and appropriating space was already a way to represent the self and cast off assigned representations. Filmmakers and photographers took an active part in this visible transformation of the established order. They made and almost immediately disseminated images of the movement. Throughout the 1960s, collectives used cinema not just to document struggles but also amplify them. They glorified the workers’ combativeness, which echoed the activism of leftist groups, a stance that prompted them to get involved, go out into striking factories, meet those in struggle and share their fight. In the early 1970s, other filmmakers documented the gay and women’s movements, often using video. With researchers and witnesses, we will recall that history, when ways of making films in common were invented in opposition to professional and social hierarchies. Fifty years after the May events, photographers and filmmakers, in obviously different contexts, continue to produce images of present-day struggles that depart from the majority of those broadcast by the mainstream media. Most would undoubtedly reject the term “militant” to describe their work, but, involved in conflictual situations, they necessarily think about what their role or place could be and their relations with those around them or those with whom they cooperate. With photographers and filmmakers’ collectives at Notre-Damedes‑Landes, Bure and Calais, we will try to see what forms the ideas of commitment, collectivism and counter‑information can take today.