Marc Faye

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

Between the wars, more than eight hundred young Polish women came to Indre-et-Loire to work as farm maids. Their story has come down to us thanks to the letters exchanged by their social worker, Julie Duval. Louis Clergeau, an artisan photographer, whose pictures are scattered throughout this film, gave them a face and a body. This film bears witness to this little-known part of French immigration and tells the bitter fate of these immigrants in the Touraine countryside, whose story still shakes us today.

Between the wars, more than eight hundred young Polish women came to Indre-et-Loire to work as farm maids. Their story has come down to us thanks to the letters exchanged by their social worker, Julie Duval. Louis Clergeau, an artisan photographer, whose pictures are scattered throughout this film, gave them a face and a body. This film bears witness to this little-known part of French immigration and tells the bitter fate of these immigrants in the Touraine countryside, whose story still shakes us today.

Between the wars, more than eight hundred young Polish women came to Indre-et-Loire to work as farm maids. Their story has come down to us thanks to the letters exchanged by their social worker, Julie Duval. Louis Clergeau, an artisan photographer, whose pictures are scattered throughout this film, gave them a face and a body. This film bears witness to this little-known part of French immigration and tells the bitter fate of these immigrants in the Touraine countryside, whose story still shakes us today.

Gabrielle, una joven de diecinueve años, se encuentra atrapada cerca del Valle de la Muerte, entre sus dos padres, que no se hablan.Los tres, sintiéndose en una trampa, intentan romper la tensión reinante, rodeados por un inmenso paisaje inamovible.

On 23rd February 2005, the radio announces a bill on the benefits of French colonization. This announcement disrupts Louise and her family's daily life. Her house turns out to be inhabited by peculiar presences.

Jann Gallois is a dancer and choreographer. Her body is her work tool. Always looking for the right movement, she twists it, bends it, stretches it, breaks it. But memories reappear and the body’s memory, excessively in demand, awakens old wounds. How does this dancer, who says she is "passed through by others and by herself", live with her body?

Jann Gallois is a dancer and choreographer. Her body is her work tool. Always looking for the right movement, she twists it, bends it, stretches it, breaks it. But memories reappear and the body’s memory, excessively in demand, awakens old wounds. How does this dancer, who says she is "passed through by others and by herself", live with her body?

Jann Gallois is a dancer and choreographer. Her body is her work tool. Always looking for the right movement, she twists it, bends it, stretches it, breaks it. But memories reappear and the body’s memory, excessively in demand, awakens old wounds. How does this dancer, who says she is "passed through by others and by herself", live with her body?

Two bored teenagers under the apocalyptic sunshine.

Everybody knows Laughing cow but nobody knows who is the artist behind this famous trademark. Benjamin Rabier (1864-1939) is a French illustrator, comic book artist and animator. He became famous for creating La Vache qui rit (The laughing Cow) and Gédéon le canard (Gideon the duck) he is also one of the pioneers of animated films .