Théo Robichet

A documentary that critiques the neo-colonial destruction of indigenous African agriculture and economies, resulting in mass starvation.

The film's introduction covers Ireland's history from British colonization to the territory's division in 1922. THE PATRIOT GAME then details the events of the decade that began in 1968. Through powerful portraits of rebellion and eyewitness accounts of killings and such massacres as the infamous "Bloody Sunday," the film shows the IRA at work - much of it filmed clandestinely - as they argue their cause which, in this country and in most of the world, has gone unheard.

The action takes place in a metallurgical factory which was part of the Pechiney-Ugine-Külhman trust in Couëron, Loire-Atlantique, in 1975. To show their solidarity with their husbands on strike, workers' wives invaded the director's office and obtained in two hours what was refused to them for months. But the management complained and sued. Twelve wives were charged with forcible confinement. The mobilization then widened. The women called on the Bretagne Cinema Production Unit (UPCB) to make a film about their struggle. Narrating the courageous action of solidarity of women with the strikers of the factory and the emergence of a collective awareness, both feminist and working-class, the film is also an echo chamber sensitive to the aspirations of the twelve women who were charged.

In this gentle comedy, a disaffected group of young people bungle their first hold-up when the old lady they choose to rob turns out to be even poorer than they are. Not only that, but her husband has died, and she needs to get his body back to his hometown for burial and she is getting no help from the state. The would-be robbers good-naturedly agree to help her, and have a series of odd adventures involving the old lady, the corpse, and themselves. Eventually, the old lady dies as well, and they are really in a pickle.

The owner of a luxurious yacht seduces attractive women to deliver them to a black crew member.

Bruno Muel's documentary on the coup in Chile in 1973. Muel, who was part of the famed Medvedkine group, along with Chris Marker and Jean-Luc Godard, among others, captured one of the most powerful portraits of the early days of Dictatorship. Profound solidarity with the socialist cause, Muel and his team showed great courage to mix the official registration of images with those triumphant, clandestine, of the nascent opposition.

André is a loser. He dreams of becoming a great writer and being sought after by wonderful women. To make something interesting happen in his life he visits political meetings.