Cut to:
The (almost seventeen) Screen Credits

I am grateful to Jamie Berthe, who has done scholarly work on Rouch, for her help in finding several of these screen credits.
Renee Lichtig is the only one of the seventeen editors not represented here, but in the full screen credit gallery on the site you can see hers from Le déjeuner sur l’herbe by Jean Renoir.
The screen credits are listed alphabetically by the last name of the editor. When more than one woman is listed, it’s by the first one.

“Chronique d’un été”—”Chronicle of a Summer” (1960) — Directed by Jean Rouch and Edgar Morin — Edited by Jean Ravel, Néna Baratier and Françoise Collin (not Colin)
“Les maîtres fous” — “The Mad Masters” (1960) — Directed by Jean Rouch — Edited by Suzanne Baron
“Fêtes de l’indépendence du Niger” — “Celebrations of the Independence of Niger” (1962) — Directed by Jean Rouch — Edited by Suzanne Baron and Annie Tresgot
“Moi fatigué debout, moi couché” — “I’m tired of standing, I lie down” (1997) — Directed by Jean Rouch — Edited by Françoise Beloux
“Les Veuves de quinze ans” (one segment in “La fleur de l’âge”) (1964) — Directed by Jean Rouch — Edited by Claudine Bouché
“Babatu, les trois conseils” — “Babatu and Three Wise Counsels” (1977) — Directed by Jean Rouch — Edited by Christine Lefort
“Petit à petit” — “Little by Little” (1971) — Directed by Jean Rouch — Edited by Josée Matarasso and Dominique Villain
“La chasse au lion à l’arc” — “The Lion Hunters” (1965) — Directed by Jean Rouch — Edited by Josée Matarasso and Dov Hoenig
“Jaguar” (1968) — Directed by Jean Rouch — Edited by Josée (not José) Matarasso, Liliane Korb, Jean-Pierre Lacam
“Gare du Nord” (one segment in “Paris vu Par”) (1966) — Directed by Jean Rouch — Edited by Jaqueline/Jackie Raynal
“Horendi” (1972) — Directed by Jean Rouch — Edited by Danièle Tessier
“La punition” — “The Punishment” (1962) — Directed by Jean Rouch — Edited by Annie Tresgot
“La pyramide humaine” — “The Human Pyramid” (1961) — Directed by Jean Rouch — Edited by Marie-Josèphe Yoyotte, Francine Grubert, Geneviève Bastid and Liliane Korb


Françoise Collin

Born 1937

“Chronique d’un été”—“Chronicle of a Summer” — with her name misspelled.

Françoise Collin began working in 1961 as a co-editor (with Jean Ravel and Néna Baratier) of Chronique d’un été/Chronicle of a Summer, the landmark film by Jean Rouch and Edgar Morin. Between then and 2006, she amassed thirty-two credits for both narratives and documentaries. Her collaboration with Jean-Luc Godard began in 1964 as a co-editor (with Dahlia Ezove and Agnès Guillemot) of Bande à part/Band of Outsiders. Following this, she was co-editor of Une femme mariée/A Married Woman (with Andrée Choty, Agnès Guillemot and Gérard Pollicand). Collin was sole editor of Godard’s next film, Pierrot le Fou and then co-editor of Made in U.S.A. (with Agnès Guillemot) and co-editor of 2 ou 3 choses que je sais d’elle/Two or Three Things I Know About Her (with Chantal Delattre).
Collin continued editing with numerous other directors, including Jean Aurel, Pierre Koralnik, José Varela, Anna Karina and François Dupeyron. Between 1999-2005, she edited three films for Philippe Garrel (Le vent de la nuit/Night Wind, Sauvage innocence/Wild Innocence and Les amants réguliers/The Regular Lovers). When Collin cut Histoire naturelle for the director and actress Ysé Tran in 2006, it was the culmination of an editing career that lasted forty-four years.
There is also one listing on the (often unreliable) internet of a documentary from 2011, Rua Diamantina Rosa, that lists her as the director but I haven’t found any other evidence to support it, and a different website spells the director’s name as Coullin.

Note: You can read more about the seventeen women editors who collaborated with Jean Rouch here.

There isn’t a single photograph of Collin to be found in any archive or anywhere online. One can find images online, but they’re all of a same-named French philosopher. So here instead is the screen credit from her first film—above, in which her name is misspelled —and one from a later film.

“Une femme mariée” — “A Married Woman”
It’s notable here that she gets a credit on the poster. Often they only list the DP and the composer, in addition to the director and the actors.