Hélène Lamy-au-Rousseau

The Feral family plan to look normal and friendly as they move into a new neighborhood. Their son, Philemon gets closer to his new neighbor, Camila and his thirst for blood grows thus his difference becomes impossible to hide.

Famous lawyer, Luc Germon adds Gilles Fontaine, one of the most powerful bosses in France, to his clients. He is suspected of having acquired a magnificent property, Villa Caprice, under questionable conditions.

Antoinette, a school teacher, is looking forward to her long planned summer holidays with her secret lover Vladimir, the father of one of her pupils. When learning that Vladimir cannot come because his wife organized a surprise trekking holiday in the Cévennes National Park with their daughter and a donkey to carry their load, Antoinette decides to follow their track, by herself, with Patrick, a protective donkey.

10년째 글만 써오며 재능을 낭비해오던 에드몬드는 자신을 자극시킬 새로운 영감을 통해 희대의 작품 [시라노]를 쓰게 되고, 무대에 올릴 수 있는 절호의 기회가 찾아온다. 하지만, 과정은 순탄치만은 않은데, 과연 모든 난관을 이겨내고 성공적인 커튼콜을 할 수 있을까?

A stroke-afflicted filmmaker is manipulated by a notorious con man.

열 여섯살인 아팀(Atim)은 아버지를 죽인 남자에게 복수하기 위해 수도로 간다. 그곳에서 아버지의 원수는 작은 빵 가게를 운영하며 조용히 살아가고 있다. 아팀은 빵 만드는 법을 배우러 온 것처럼 가장하며 계속해서 죽일 기회를 노리면서 그의 곁에 머문다. 하지만 아팀은 그에게서 자꾸 그가 꿈꿔왔던 아버지의 모습을 발견하게 되는데… (전주국제영화제)

The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.