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1-14 of 14
- After graduating from Emory University, top student and athlete Christopher McCandless abandons his possessions, gives his entire $24,000 savings account to charity and hitchhikes to Alaska to live in the wilderness. Along the way, Christopher encounters a series of characters that shape his life.
- Two American newlyweds in Paris experience a love so strong, it almost devours them.
- Two tigers are separated as cubs and taken into captivity, only to be reunited years later as enemies by an explorer who inadvertently forces them to fight each other.
- In the Antarctic, every March since the beginning of time, the quest begins to find the perfect mate and start a family.
- Documentary on the migratory patterns of birds, shot over the course of three years on all seven continents.
- Two women who grew up together discover they have drifted apart when they retreat to a lake house together.
- When a self-obsessed novelist (Jason Schwartzman) has problems with his novel and his girlfriend (Elisabeth Moss), he seeks refuge in his mentor's cottage where the peace and quiet allow him to focus on his favorite subject - himself.
- A young man discovers his homosexuality and begins a relationship with a manipulative hustler / petty criminal that he meets at a train station.
- A mild-mannered gay dentist and a hedonist womanizer rekindle their unlikely friendship when the latter's terminal cancer drives them back together after a decade apart.
- Fiona, Julien and their two clone-like children live a life appropriate to the robots they have become, in a style-less, cheerless suburb somewhere in the flatlands of French-speaking Europe. Even the simple act of buttering and eating a roll takes on the appearance of an assembly line. When Fiona, who manages a fast-food restaurant, accidentally locks herself in the restaurant's walk-in freezer overnight, her family doesn't even miss her. She realizes how pointless her life has become and runs away; to seek happiness, put her life right again and perhaps to visit the icebergs with which she begins an obsession. On a bus trip to nowhere, she becomes friendly with an older lady, Fernande, who offers Fiona a place to stay and diversion in her seaside community. There, Fiona becomes attracted to René, who owns a small sailboat, and has been a deaf-mute since a fire in which his parents died. In time, the pair embark on a sailing voyage, unknowingly pursued by the persistent Julien, who has managed to track Fiona down. When the men squabble and fall overboard, Fiona sets sail for the polar regions with a vengeance, ultimately tearing the bottom out of the boat on - you guessed it - an iceberg! Miraculously, the three castaways are all fished out of the ocean by Lucy, an Inuit girl who operates a commercial fishing boat. The final resolution of the love triangle caps the farcical nature of this unusual film.
- Carrying on Luc Moullets unfinished screenplay about the theft of la pénélope, a camera created by Aaton and capable of recording equally well in 35 mm and digitally, LA ROUGE ET LA NOIRE is a film in kaleidoscope form. The portrait of Aatons founder, Jean-Pierre Beauviala creator, inter alia, of the time-code and the light cameras used by the New Wave (in particular the bush camera specially designed for Jean Rouch) is centered around the basic plot introduced by two women thieves who talk as voice-overs, and whose identities will only be revealed at the end. The film weaves its canvas through many different styles of imagery: Beauvialas private archives shot in 16mm, images that the artist produces in Aaton work areas, digital inlays of a little monster who metamorphoses on the screen. The latter, a variant hailing from the Aaton advertising icon of the cat on the shoulder, permeates and interferes with the film, embodying potential menace and representing the narrative thread. Through an operation involving the desynchronization of sound and image, Isabelle Prim creates a gap between the plot and her commentary, and increases the number of image-related signifiers, to the point of introducing doubt about what we are being shown. Right up to the final slip, when the thieving women get in a muddle over the camera, and make off with the one used by Beauviala himself to produce his archives. Full circle.