Mikaël Barre

Vincent tells the story of Jean, a character who is a part of him, without being him. In this story Jean meets Stacey. Among the echoes of today's society the professional and private relationship of a filmmaker and an actress at work is growing. Notre Histoire is a modern tragi-comedy, a love letter to a woman, a tribute to a neighborhood victim of terrorism, a self-portrait, a social criticism, the description of a relationship between a filmmaker and an actress, in the center of which desire and urgency to work mix.

Jeanne, 17, enjoys the last days of summer before getting back to high school. One morning, with her little sister Camille, they decide to run away from the police station where they live with their father to see the ocean one last time. On the beach, Jeanne meets a young surfer. He’s handsome, she’s intrigued. Jeanne feels a strange desire invading her.

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

December 1919. The American government deports 249 anarchists and radicals on the “Soviet Ark”. Five years later, this same ship becomes the decor of Buster Keaton’s slapstick comedy “The Navigator”.

Arnaud is looking for his place in society. Soy Libre shows his insatiable desire for freedom on a nearly ten year long quest, which brings him from Northern France to Spain to Peru. A portrait of a little brother growing bigger and bigger, through the eyes of his elder sister.

Samay, un niño de nueve años que vive con su familia en un pueblo remoto de la India, descubre el cine por primera vez y queda absolutamente hipnotizado. Contra los deseos de su padre, vuelve al cine día tras día y se hace amigo del proyeccionista que, a cambio de su comida, le deja ver películas gratis. Rápidamente se da cuenta de que las historias se convierten en luz, la luz en películas y las películas en sueños. Contagiados por la emoción, Samay y su inquieta pandilla, investigan sin descanso para intentar captar la luz y proyectarla para lograr ver películas de 35 mm. Juntos, utilizan un truco innovador y logran con éxito fabricar un aparato de proyección. Sin embargo, perseguir tus sueños a menudo significa dejar atrás las cosas que amas.

Men and women are dancing feverishly for a long time. The dance of bodies turns into a filmic trance, fleeing turns into running away, with braided motifs that get revived with every race. The men who don’t dance talk, recite, tell their own stories for and with the filmmakers. And be it through dancing or talking, it is by sharing work space and time, by making a film together, as a community, and by lovingly giving in to sharing, that the film operates politically. It even makes a processional samba in the streets of Sao Paulo look like a show of inalienable collective power. Carried away by this power, the film itself then seems to run away, to overrun its own limits. Somewhere between fable and document, improvisation and composition, anger and joy, all frontiers are burning. (Cyril Neyrat - FID 2021)

« In the shadows of Low Life, a secret ceremony dedicated to thirteen guardians of humanity’s common treasures, love and resistance, youth and poetry, equality and difference, insurrection and revolution. Saxifrages … These rootless plants’ windblown destiny is a soft perseverance doubled by an imperceptible intransigence, which, in time, imposes on the hardness of stones a patience that can break them. » – Saad Chakali

Fifteen young dancers of various origins and horizons. They are touring Crowd, Gisèle Vienne's dance piece on the 90s rave scene. Following them from theatre to theatre, the film documents their work as well as their strange, intimate relationships. As the line becomes blurry, the stage seems to contaminate real life – unless the opposite is happening. Little by little dance grows into a troubling journey into our nights, our parties, our loves.

Fifteen young dancers of various origins and horizons. They are touring Crowd, Gisèle Vienne's dance piece on the 90s rave scene. Following them from theatre to theatre, the film documents their work as well as their strange, intimate relationships. As the line becomes blurry, the stage seems to contaminate real life – unless the opposite is happening. Little by little dance grows into a troubling journey into our nights, our parties, our loves.

A peculiar personal journey along the shores of the Mediterranean Sea, the inland sea that bathes the beaches of three continents, passing through the port of Marseille, the Rock of Gibraltar, Algeria and Syria; an artistic and experimental collage made up of thoughts, memories and emotions.

Pablo, Zoe, Thomas and Felix, in their twenties, are attacked at the foot of their tower. Three of them survive. They try as they can to mourn the fourth and start living again.

Can a life size doll, an avatar or an artificial intelligence truly love you? Through unilateral love stories between humans and non-humans, the film explores different attempts to be in the world and draws a picture of Japan’s future.

Martin, en una última esperanza, viene a encontrarse con Leah en París. Ambos tienen veinticinco años y han vivido juntos su primera historia de amor. De ahora en adelante, todos están trabajando duro para construir una vida adulta.

Martin, en una última esperanza, viene a encontrarse con Leah en París. Ambos tienen veinticinco años y han vivido juntos su primera historia de amor. De ahora en adelante, todos están trabajando duro para construir una vida adulta.

Martin, en una última esperanza, viene a encontrarse con Leah en París. Ambos tienen veinticinco años y han vivido juntos su primera historia de amor. De ahora en adelante, todos están trabajando duro para construir una vida adulta.

Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaux of people and environments. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, calling to a temporary halt a land in a constant state of change.

« How much wood would a woodchuck chuck if a woodchuck could chuck wood ? » A tongue twister is a sentence with much alliterations and is complicated to pronounce. A tongue twister must be spoken quickly and repeated a few times. Langage breaks down between and meaning. This film is a linguistic game between sound and meaning and a portrait of the linguistic reality of Berkeley. Many American people recite tongue twisters in diffrent languages and/or in English as second language : German, Englsih, Arabic, Armenian, Assyrian, Mandarin, Korean, Croatian, Spanish, French, Hebrew, Japonese, Farsi, Portuguese, Tagalog, Vietnamese.

Ricky has a dream: to make Staff Benda Bilili the best band in Congo Kinshasa. Roger, a street child, more than ever wants to join these stars of the ghetto, who get around in customized tricycles. Together, they must avoid the pitfalls of the street, stay united and find the force to hope in music. For six years, from the first rehearsals to their triumph in international festivals, BENDA BILILI! (“beyond appearances”) is the story of this dream come reality.

It is the end of a meal. Eight people are gathered around a big table. They evoke the memory of a lost friend. Through the stories of each about the absentee, the character traits, the haabits or the expressions, a portrait in hollow is outlined.

Irene moves to Paris to begin a new life with her husband Jason and their two daughters, but an act of betrayal and her desire for revenge soon sends her to the brink of madness.

38 años después de "Belle de jour" de Luis Buñuel, dos personajes de la película vuelven a cruzarse con el misterio de un secreto que sólo conoce el personaje masculino y cuya revelación es imprescindible para el personaje femenino. Aunque ella le evita, él sigue sus pasos hasta que finalmente consigue que le preste atención al confesarle su intención de revelarle el secreto. Fijan una cita, una cena durante la cual ella, ahora viuda, aguarda la esperada revelación: qué es lo que él le dijo a su marido cuando éste estaba mudo y paralítico por un disparo efectuado por un amante de ella. La situación es tensa y ella termina sin saber qué es lo que realmente pasó. Se trata de la venganza de él porque la mujer nunca le permitió poseerla.

Luciano, sale de prisión y es llevado por su hermano, Flórido, a casa de Alfreda, donde trabajará como sirviente. Alfreda le dice que su mayor deseo es que se le aparezca la virgen, lo que deja a Luciano admirado. Además de todo, ahora la rica señora viene con sus pretensiones sublimes. ¿No le bastaba con tener un Aston Martin y un Jaguar aparcado a la puerta de casa, ni tener diez vestidos para cada estación? Todo fue culpa del profesor Heschel, o de quien fuera… Ir más allá de la promesa sería una herejía. Alfreda dijo que no descansaría mientras no viera a Maria y le hiciera unas cuantas preguntas. Filipe Quinta, el Falsificador, afirma tener la solución. Sin embargo, Bahia, su marido, escuchaba música…