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1-22 of 22
- A 1980s-set story centered around a man vs. machine chess tournament.
- A drama centered on the relationship between a teenager, Pierre, and Nadia, a woman in her thirties.
- Invited to present his first feature film "My life with James Dean" in Normandy, the young director Géraud Champreux has no idea this film tour is about to change his life. From wild stampedes to woeful screenings, from trawler trips to drunken evenings, Géraud ends up finding inspiration in this unlikely town at the end of the earth.
- A documentary that explores the world of U.S. television showrunners and the creative forces aligned around them.
- Along the rhythm of the seasons, beasts and humans regard each other. 'Bestiary' unfolds like a picture book about mutual observation. A contemplation of a stable imbalance, and of loose, tranquil and indefinable elements.
- Filmmaker Corneliu Porumboiu discusses a snowy soccer match from 1988 with his father, who was the head referee for the game.
- Benoit and Maryse: a brother and sister with seemingly normal lives. Everything is changed by a series of coincidences... and the arrival of a man claiming to come from the future.
- 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.
- São Paulo today. Brazil is in full economic upswing. This is a story of friendship and delusion between three young friends in a big city. Their life is marked by an ordinary routine where nothing much happens except the alienation impregnated by the consumer society and the lack of perspectives. An urgent film representing the historical moment of a generation.
- Audrey has left Eric. But there's still Paul, their five year-old son: Audrey leaves him with her mum "just for the time being". But for how long? Until she finds somewhere to live, a new job, a stable companion?
- Living almost as a recluse, the topographer Malek accepts a job in a region of western Algeria at the insistence of his friend Lakhdar. Malek arrives at the base camp previously used by a team, but decimated by fundamentalists. A young shepherd observes him from afar; several men, some armed, approach and question his being there. Having previously run from Islamist terrorism, these farmers decided to return to their village. At dusk, the local police arrive for a routine visit. After the police have left, Malek is invited by the villagers to a makeshift party. During the night a series of explosions are heard. At dawn, Malek begins the first topographical readings, surveys the area surrounding the base camp and measures distances. During the night, again his sleep is disturbed by powerful explosions. The next morning, Malek sees a crowd along the edges of the mined field. On his return to the base camp, he discovers a young woman hiding in a corner of the Saharan hut. She's an African woman and won't give her name. Lakhdar arrives at the site, to find that both she and Malek have disappeared. At first, the two runaways head north, towards the Moroccan frontier which is the route to reach the Spanish enclave of Mellila. But the young woman doesn't want to flee to Europe; she's exhausted and wants to return home. With her finger, she traces the itinerary on Malek's maps, an interminable diagonal towards the southeast, the route to Tchad - towards the desert, towards a point of mutual disappearance.
- The story of a man led back to Austria, his home country, by a business trip. The country has become strange to him, more a prison than a refuge, yet it touches on the story of his mother and stirs up forgotten memories.
- Two women must cope with their husband's mid-life crisis. Maria is authoring a documentary on the subject while her friend Genevieve, an artist, is preparing for an important exhibit that would guarantee her a permanent spot at an art gallery. During a foursome diner, Peter affirms he understands his fellow workers who have left their wives. Worry will progressively hit Genevieve when Claire, her neighbor announces she has witnessed some of Peter's activities!
- In a small French town in the 1960's, an art teacher paints skies, two boys built a rocket and a gym teacher and amateur racer keeps improving his rally car.
- Next to Rennes men's prison, as next to almost all the prisons in France, there a Family Support Centre for the prisoners' families. Visitors go there before and after a visit. They come back, every week, sometimes three times a week. They wait. It is a space of its own. Visiting is time consuming. They always arrive early. If they are a few seconds late, the door of the prison will remain closed. So they wait, to be sure to be on time, to be let in. The prison rules infringe upon this place, a passage between the outside and the inside, where all feelings are amplified: frustration, anger, hope, desire, fear, passion... To have the strength to go there, you must be so deeply rooted in life that you can breathe life into this inflated waiting time.This film is about life in that place. It is also an echo of what prison is made of. By choosing to remain exclusively «next door», the film paradoxically offers a direct approach of what the carceral reality is. The hidden side of imprisonment, life outside, without the other. But definitely life, not a subsitute.