Stéphane Jourdain

Road trips through Los Angeles, famous verses in the Poetry Lounge and love in times of the pandemic: Rendezvous with an old flame, fourty years later. After Jaurès (2012), Vincent Dieutre presents another tender autofictional piece in the Forum.

In 2019, the director Leos Carax proposes to Estelle Charlier and Romuald Collinet to design, make and animate "Annette", the puppet of his new film. This one will be the child of the couple Marion Cotillard and Adam Driver. Propelled into the world of cinema, begins for this charismatic duo a unique and singular adventure in their career as puppeteers. Faced with the demands of the filmmaker, the impossible, they are held.

Hailing from Mohammedia, Tunisia, the film documents twelve years in the life of Mehrez. A gifted dancer and actor, but also irresistibly addicted to gambling and horse races, he struggles on a daily basis with himself and the bewildering contradictions of his country. In his unstoppable quest for truthful emotions, Mehrez defies all rules.

아르메니아의 시골마을 리츠크에는 여성, 어린이, 그리고 노인만이 거주한다. 마을 남자들은 일년 중 9개월을 일자리를 찾아 러시아로 건너가 살기 때문. 남편 또는 가족의 부재, 그리고 오랜 기다림과 외로움에도 불구하고 여성들은 자신의 자리를 지킨다. 영화는 그들의 삶을 따라가며 은밀한 내면의 소리를 담아내고, 좌절, 기쁨과 욕망의 순간들과 함께 한다.

Ever since the war in Nagorno-Karabakh, the still disputed territory is contaminated by landmines. This documentary follows five female de-miners on their risky job.

Its light, its smoky bars, its vacant land: the characters that we meet here treasure different aspects of Berlin. Vincent Dieutre puts faces and voices on some of the many artists who have settled there since the collapse of the Wall. Questioning each one about their arrival and possible departure, he depicts how Berlin has become part of the personal stories that have, in turn, been infused with a city’s history. What each artist recounts with their own words and sensitivity is also what the city has taught them – the vocabulary of the sentiments in German, the strength to live in the cold or in precarious conditions. Like a playful wink to the tourist guide format, the filmmaker travels from district to district.

A studio. A man and a woman. Moving images on the screen, which he comments on, spurred on by her questions. All the footage was shot from the window of a flat: views of the street, the metro line running above it, the canal, into the windows of the buildings opposite. The flat belongs to the man’s lover, the man is a guest, spending his nights there but never his days. By the canal, young men from Afghanistan set up makeshift shelters as the man looks on, developing increasing sympathy for them. The seasons change, winter, spring, summer.