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1-33 of 33
- In this war drama blurring the lines between documentary and fiction, the working class and the bourgeoisie of 19th century Paris are interviewed and covered on television, before and during a tragic workers' class revolt.
- Delving into the nearly-religious significance of water, this profound rumination on memory and loss bridges the gap between its mystical origins, Pinochet's coup d'état, and the secret of a mother-of-pearl button at the bottom of the sea.
- In a hot summer morning in 1444, in the fishing village of Lagos, southern Portugal, a group of African people was disembarked. In the field next to the port, they were given away as slaves to the local noblemen and merchants. For the next 400 years, more than six million Africans would be trafficked in Portuguese ships to Europe and across the Atlantic.
- Although they were risking their lives by doing so, prisoners in concentration and extermination camps took photographs and even managed to smuggle canisters of film beyond the camp gates.
- In 1931, Rosa Maria left the village of Riace in Calabria to escape poverty. One day, Bairam docked on the beach in Riace along with two hundred other Kurdish. Today the people of Riace are called Roberto, Ousmane, Emilia, Mohamed. They don't have much but they invent daily their common destiny.
- Michel, a breeder in Eastern France, uses the winter calm to spend some time with his young apprentice, Francis. They soon become close friends.
- 'Ronny and Cindy in All of Us' is a documentary on relationships and the everyday reality of romance nowadays couples lives. Frederic Eger have brought together testimonials around the same relationships challenges the characters Ronny and Cindy go through.
- In his futuristic novel 1984, published in 1948, George Orwell tells the story of a Londoner who leads a solitary resistance against the dominant and totalitarian party Big Brother. His name: Winston Smith. According to the English phone book, there are at least twenty-five people with the same surname as this character currently living in London. The director proposes in this film to go and meet them. To search if there is, between all these homonyms, and Orwell's hero, an unspeakable link.
- Two enthusiasts of genealogy bring together as many descendants of Moise Blin as they can. Moise Blin was an 18th century Alsatian Jewish peddler. This gathering reveals the chronicles of one family, from before the French Revolution to present day: an exemplary history of the Jews, from persecution to assimilation.
- This is Brazza: an urban wasteland is living through its last hours. 53 hectares for the construction of a vast real estate project in tune with the times.
- Italian nurses in search of a steady job.
- The doctor of the King of Portugal was so good in his hospital practice, that after his death both King and country peasants worshiped him - to this day, 120 years later. Many worship him as a saint, despite he died as he lived, as an atheist. Some sell merchandise with his image and alleged curative powers, while he was known to shun healers from the hospital.
- To return to Rwanda, less to hear horror stories, than to listen to the subsequent words, to hear the words of justice, to try to go back to the sources of this massacre with a million victims. On the one hand, clips from the archives of the trail of the International Penal Tribune for Rwanda (TIPR), set up in Arusha, in Tanzania since 1994. Diverse accused persons involved in the genocide are heard here. Théoneste Bagosara, for example, retired colonel from the Armed Rwandan Forces and supposed mastermind of the genocide, whose defense lasted twelve years after his arrest. Or Georges Ruggiu, the ex-Belgian teacher lost in Kigali, zealous propagandist of the massacre heard over the radio station, Free Radio Television station of Mille Collines. Judges and lawyers debate the charges, the idea that it was all planned, responsibilities, while the prosecutor explains his difficulties in conducting his inquiry. The diplomatic and political ins and outs of yesterday as well as of today become clear here. On the other hand, away from the court rooms, other witnesses and other actors of the tragedy, guilty persons, or victims at home, review the facts and their implications, and their helplessness. In this exemplary way, a couple where the husband, Hutu, took part in the wrongdoings, is married to a Tutsi, whom he managed by the skin of his teeth to save. It is not a question of opposing two forms of justice, Christophe Gargot denies himself all over-simplification, but completes a highly rhetorical, political exercise by a less strategic approach, one that is more powerless and more exposed. It is the approach of those who continue to live under the daily weight of this drama.
- "This film begins on the 5th of March. Every year, on this exact date, an ant comes in under my front door and I watch it. For her, it's the beginning of spring, for me it's my mother's birthday. The ant feeds its queen who then lays eggs and I ask myself the question of whether I do or do not want to have a baby just at the point when my mother, who is suffering from cancer, is approaching the end of her life." This is how Zoe Chantre introduces her last film to date. We would have figured out that the film is autobiographical, but from several points of view: her own, her mother's, the ant's and other entities who feature in this story about existence. Furthermore, a rare trait in this type of undertaking, is the deliberately generous helping of humour. Not only, in terms of the funny side of the various adventures narrated with obvious jubilation, even when things are not going so well, but also the humour that results from the diversity of the filming techniques: a basic animation using a pencils and rubber which we see rubbing things out - a naïve, jolly technique, echoing the DIY solutions to some of the more serious problems addressed in the film. In short, if this is not "an autobiography of everyone" a la Gertrude Stein, it is an expression of the drive to embrace everything openly - from animals to humans, from a Parisian flat to Vietnam, to the squared paper of a schoolboy's notebook which is endlessly reinvented before our eyes. The film is never imperious, never sententious, rather always forging ahead. Such is the heavy price of this confession - to do it, to advance, like each choice in a game of snakes and ladders (jeu de l'oie), without any forethought or wisdom simply moving forward one step at a time, each move as important as another: a beautiful hymn to the S in scoliosis as a possible, plausible way of standing tall.