Samuel Doux

나는 예리하고 지혜롭다. 그리고 시와 정치를 잘 안다. 나는 사회 집단의 일원에서 ‘프랑스 파리의 도발적인 작가’라는 자리로 나섰다. 소설 한 편을 출간했지만 SNS에 140자짜리 글을 쓰기도 한다. 그리고 나는 SNS에 글을 쓰면서 목표물을 정확하게 겨냥한다. 바로 그러한 이유로 사람들은 내가 나서기를 바라는 것이다.

In the wake of his wife’s death, Simon tries to make a fresh start by moving with his son Camille to Dubai. In that extraordinary city, Camille manages to forget, let go, and begin a new life. But for Simon, it’s not so easy. He begins to feel an alarming presence in their home - someone quietly, patiently lurking in the shadows. Could it really be his double? Simon slowly succumbs to anxiety and thinks he is going mad. But he’s not the only one to feel threatened this way. It seems to be happening to all people in Dubai who refuse to cut off all ties to their past.

In the wake of his wife’s death, Simon tries to make a fresh start by moving with his son Camille to Dubai. In that extraordinary city, Camille manages to forget, let go, and begin a new life. But for Simon, it’s not so easy. He begins to feel an alarming presence in their home - someone quietly, patiently lurking in the shadows. Could it really be his double? Simon slowly succumbs to anxiety and thinks he is going mad. But he’s not the only one to feel threatened this way. It seems to be happening to all people in Dubai who refuse to cut off all ties to their past.

A mother of two gathers her loved ones to celebrate her birthday in her big house near the Loire Valley. The festivities are disrupted by the arrival of her daughter, who is known for her unpredictable outbursts.

Thomas is a drug addict. In an effort to put an end to his habit, he joins a community of former addicts who live isolated in the mountains and use prayer as a way to cure themselves.

Isabelle Adjani is Carole Matthieu – a workplace physician employed in a call centre who has become emotionally involved in the suffering of her humiliated co-workers.

Constance, a 40-years-old real estate agent, gets fired from her job. With no options left, she contacts her former boss, from the small agency where she started her career. To her surprise, he is hiring, but explains he may have already found someone. Constance is convinced she will get the job because of her experience and extensive qualifications. But when Audrey, a younger and prettier woman, is hired instead, it proves too much for Constance to take.

Directed by French Director Christian Faure and released in 2014, The Law brilliantly traces three days, in late Fall 1974, of stormy debate in the French National Assembly, around a bill which would make "voluntary termination of pregnancy" legal. Behind this bill stands a lone woman brilliantly played by a remarkable Emmanuelle Devos (also in The Other Son): Simone Veil the Minister of Health in the Jacques Chirac government during the presidency of Valéry Giscard d'Estaing. During these three days of violent debate Veil, a Jew and Holocaust survivor, is spared nothing: political negotiations, solitude, sparring arguments, insults and violence to her family. In spite of all of this, Veil never wavers.

To fight against the introduction of automatic checkouts that threaten their jobs, staff members at Hard Discounts secretly create their own "Alternative Discount" outlet by salvaging products that would otherwise have been wasted.

A young woman invents the love she does not get and she needs. She has always done that, since childhood. It has become a disease. When Nicolas leaves her she refuses to believe it. He will love her anyway, it is needed, she needs it.

In a loveless relationship, Zoé ditches her faceless boyfriend in a cheap motel room and sets off north without a penny to her name. She hitch-hikes, pilfers a meal from a gas station, encounters strangers who could be her next ride or a passing glimpse, ambling toward some unknown destination. At the end of her pilgrimage, Zoé reaches the English Channel; on the ferry a woman mysteriously disappears. A new coat gives Zoé a new identity, but even in a new country she's not quite sure she's escaped herself.

Talks about the iconographical sources that Walt Disney and his studio's designers drew on to create the films that are incontestably among the masterpieces of animation.

Talks about the iconographical sources that Walt Disney and his studio's designers drew on to create the films that are incontestably among the masterpieces of animation.