Arnaud Ledoux

During the exhibition Splendors of the Oases of Uzbekistan at the Louvre, a journey to the mythical city of Samarkand, a fabulous tapestry of civilizations.

Elitza Gueorguieva films the making of the novel that her Belarusian alter-ego Aliona begins about her father, a maritime adventurer, physicist and dreamer, who disappeared off the Turkish coast in 1995.

Elitza Gueorguieva films the making of the novel that her Belarusian alter-ego Aliona begins about her father, a maritime adventurer, physicist and dreamer, who disappeared off the Turkish coast in 1995.

Elitza Gueorguieva films the making of the novel that her Belarusian alter-ego Aliona begins about her father, a maritime adventurer, physicist and dreamer, who disappeared off the Turkish coast in 1995.

The same old adventure recited in a new synthetic world, starring: God, Abraham, Isaac, a lost shepherd and the antelopes in the role of the Ram. Nobody is innocent.

In the heart of a Corsican forest at night, a woman dreams of hunting. After killing, as she looks into the eyes of dead wild animals, she can see faces. Those of people who in real life are about to die. This is an ancestral gift that was passed on to her, and comes from the depth of the island. Even though today, no one seems to care about her visions anymore. Because she is a wild woman. A Mazzera... There is only this one shepherd who is still paying attention.

In the heart of a Corsican forest at night, a woman dreams of hunting. After killing, as she looks into the eyes of dead wild animals, she can see faces. Those of people who in real life are about to die. This is an ancestral gift that was passed on to her, and comes from the depth of the island. Even though today, no one seems to care about her visions anymore. Because she is a wild woman. A Mazzera... There is only this one shepherd who is still paying attention.

Wrapped up warm in gorgeous medieval-like capes, two young women are walking. Setting off on their pilgrimage for a very humble destination, they travel along narrow country roads, and converse while listening to each other. The first one, Mili Pecherer, the director, carries on her back a both grotesque and enigmatic burden: a huge hemorrhoid-shaped bundle. As far as the second one is concerned, she is expecting a child. Understandably, here a serious and a comical approach are combined for this wandering on the foothills of the Pyrenees, open to carnival and irreverent tones under the auspices of a medieval song. As the picaresque tradition has it, this trip will give rise to meetings: with a farmer and father hosting them, with the inventor of a machine designed to find lost cats. And also a donkey, the transient travelling companion of this fanciful voyage.

Gustave Folcher, a French farmer, wrote in his 1939 diary that the summer had been long and hot. He was not alone. Many other anonymous French men and women wrote of the beauty and warmth of those summer months and how threats of war were far from their minds. Through home movies, diaries and letters, One Last Summer describes the final weeks of peace in France and the mix of blindness, denial and prophetic clear-sightedness of those facing the war that was about to unfold.

A. is obsessed with his image. Like a post-modern Narcissus, he projects himself in the endless choices that social media devices offer him. Riccardo Giacconi creates a disquieting film about a teenager who gets lost in the maze of the never-ending reproductions of his Dorian Grayesque portrait. Taking to new and yet unexplored extremes, the fixation with the digital screens in their many guises, the film works like an almost endless fall – without any kind of parachute – through the network of images hidden behind and inside other images.

The mood is heated. Demonstrations are taking place across France, also in front of the Paris hotel where an Italian named Giorgio is booking the bridal suite for him and his boyfriend Antonio. Hotel manager Diana doesn’t trust them and calls the police to get rid of the odd couple. Italians? Homosexuals? Criminals? In the charged atmosphere of the Hotel Occidental, little is needed for initial suspicions to be aroused.

In Burning Heart, adolescence, the passage to adulthood, is depicted as a loss of innocence following a conflict, ordinary as it might be.

Vengeance emerges from a collaboration between Neïl Beloufa and a group of junior students from the banlieue of Paris. The failure of the film’s original process is incorporated in the final result, which reflects on the limits and challenges of artistic social practices.

In a mountain village in the north of Portugal, a murder occurred. A sixteen-year-old boy leaves the house barefoot, under the cold night, towards the forest. For thirty kilometres he walks, up and down the mountain. He has one single thought in his head.