Marc Faye

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

My real name is Lucien Neuwirth, but people use to call me Lulu the Pill-man since I legalized the contraceptive pill.

Between the wars, more than eight hundred young Polish women came to Indre-et-Loire to work as farm maids. Their story has come down to us thanks to the letters exchanged by their social worker, Julie Duval. Louis Clergeau, an artisan photographer, whose pictures are scattered throughout this film, gave them a face and a body. This film bears witness to this little-known part of French immigration and tells the bitter fate of these immigrants in the Touraine countryside, whose story still shakes us today.

Between the wars, more than eight hundred young Polish women came to Indre-et-Loire to work as farm maids. Their story has come down to us thanks to the letters exchanged by their social worker, Julie Duval. Louis Clergeau, an artisan photographer, whose pictures are scattered throughout this film, gave them a face and a body. This film bears witness to this little-known part of French immigration and tells the bitter fate of these immigrants in the Touraine countryside, whose story still shakes us today.

Between the wars, more than eight hundred young Polish women came to Indre-et-Loire to work as farm maids. Their story has come down to us thanks to the letters exchanged by their social worker, Julie Duval. Louis Clergeau, an artisan photographer, whose pictures are scattered throughout this film, gave them a face and a body. This film bears witness to this little-known part of French immigration and tells the bitter fate of these immigrants in the Touraine countryside, whose story still shakes us today.

Gabrielle, a 19 years old, finds herself stuck near Death Valley between two parents who no longer speak to each other. The three of them, feeling trapped, try to escape the tension, in a huge scenery that feels unchangeable. The situation seems impossible, until an unexpected event comes to unravel everything...

On 23rd February 2005, the radio announces a bill on the benefits of French colonization. This announcement disrupts Louise and her family's daily life. Her house turns out to be inhabited by peculiar presences.

Em 1983, o antigo chefe da Gestapo, Klaus Barbie, é preso. Robert Batinder fala do sentimento ambíguo que tem quando se dá conta que abolindo a pena de morte dois anos atrás, ele acaba de salvar a vida do homem que mandou seu pai no campo de exterminação de Sobibor.

Em 1983, o antigo chefe da Gestapo, Klaus Barbie, é preso. Robert Batinder fala do sentimento ambíguo que tem quando se dá conta que abolindo a pena de morte dois anos atrás, ele acaba de salvar a vida do homem que mandou seu pai no campo de exterminação de Sobibor.

Em 1983, o antigo chefe da Gestapo, Klaus Barbie, é preso. Robert Batinder fala do sentimento ambíguo que tem quando se dá conta que abolindo a pena de morte dois anos atrás, ele acaba de salvar a vida do homem que mandou seu pai no campo de exterminação de Sobibor.

Em 1983, o antigo chefe da Gestapo, Klaus Barbie, é preso. Robert Batinder fala do sentimento ambíguo que tem quando se dá conta que abolindo a pena de morte dois anos atrás, ele acaba de salvar a vida do homem que mandou seu pai no campo de exterminação de Sobibor.

Em 1983, o antigo chefe da Gestapo, Klaus Barbie, é preso. Robert Batinder fala do sentimento ambíguo que tem quando se dá conta que abolindo a pena de morte dois anos atrás, ele acaba de salvar a vida do homem que mandou seu pai no campo de exterminação de Sobibor.

Jann Gallois is a dancer and choreographer. Her body is her work tool. Always looking for the right movement, she twists it, bends it, stretches it, breaks it. But memories reappear and the body’s memory, excessively in demand, awakens old wounds. How does this dancer, who says she is "passed through by others and by herself", live with her body?

Jann Gallois is a dancer and choreographer. Her body is her work tool. Always looking for the right movement, she twists it, bends it, stretches it, breaks it. But memories reappear and the body’s memory, excessively in demand, awakens old wounds. How does this dancer, who says she is "passed through by others and by herself", live with her body?

Jann Gallois is a dancer and choreographer. Her body is her work tool. Always looking for the right movement, she twists it, bends it, stretches it, breaks it. But memories reappear and the body’s memory, excessively in demand, awakens old wounds. How does this dancer, who says she is "passed through by others and by herself", live with her body?

Two bored teenagers under the apocalyptic sunshine.

Everybody knows Laughing cow but nobody knows who is the artist behind this famous trademark. Benjamin Rabier (1864-1939) is a French illustrator, comic book artist and animator. He became famous for creating La Vache qui rit (The laughing Cow) and Gédéon le canard (Gideon the duck) he is also one of the pioneers of animated films .