Pascale Ferran

Após sobreviver a um naufrágio, um homem se vê em uma ilha completamente deserta. Lá ele consegue se manter, através da pesca, e tenta construir uma jangada que lhe permita deixar o local. Só que, sempre que ele parte com a embarcação, ela é destruída por um ser misterioso. Logo ele descobre que a causa é uma imensa tartaruga vermelha, com quem manterá uma relação inusitada.

Num hotel próximo a um aeroporto de Paris, dois desconhecidos tentam encontrar algum sentido em suas existências. O norte-americano Gary, engenheiro de informática, submetido a fortes pressões profissionais e afetivas, decide mudar radicalmente sua vida. Algumas horas mais tarde, a realidade de Audrey, uma jovem camareira do hotel, é totalmente transformada depois que ela passa por uma experiência sobrenatural.

Num hotel próximo a um aeroporto de Paris, dois desconhecidos tentam encontrar algum sentido em suas existências. O norte-americano Gary, engenheiro de informática, submetido a fortes pressões profissionais e afetivas, decide mudar radicalmente sua vida. Algumas horas mais tarde, a realidade de Audrey, uma jovem camareira do hotel, é totalmente transformada depois que ela passa por uma experiência sobrenatural.

Is there such a thing as strictly feminine cinema? Is it more difficult for a woman than for a man to direct a film? Is gender parity necessary in the industry? Actress and producer Julie GAYET and actor and director Mathieu BUSSON ask these questions to twenty French woman filmmakers, who face a camera together for the first time. After over an hour of lively, informal, spontaneous and funny interviews, it becomes obvious that these issues are still problematic and definitely worthy of a documentary. As Mia HANSEN-LØVE remarks, “In the eyes of the people, a woman’s film is always a woman’s film, while a man’s movie is simply… a movie”.

No início do século XX, num bordel parisiense, uma prostituta com o rosto marcado por uma cicatriz ostenta um sorriso trágico. Em torno da mulher que ri, a vida das outras que trabalham no bordel, as suas rivalidades, as suas angústias, as suas dores do mundo exterior, não se sabe nada porque a casa está fechada, mas dentro das suas paredes tudo é possível.

Jovem muito bonita vive no campo ao lado do marido muito mais velho e paralítico. Ela passeia pela propriedade e, em um desses passeios, conhece um empregado com quem passa a ter um caso que escandalizou a sociedade da época.

Jovem muito bonita vive no campo ao lado do marido muito mais velho e paralítico. Ela passeia pela propriedade e, em um desses passeios, conhece um empregado com quem passa a ter um caso que escandalizou a sociedade da época.

A handful of student revolutionaries from the Seventies meet up 30 years later to plan a robbery. This is not entirely correct, because they are friends, anyway, and always have been. They play cards together and go to each others’ birthday parties, have wives and children and probably mortgages. Romain Goupil’s film appears to be a throwback to the experimental days of cinema verite. Either that or it’s a home movie, shot with a video camera, to an improvised script or no script at all.

A young man returns to the family home to face a childhood trauma: his brother's suicide, but nobody in the family is willing to help him.

Ten young people ( boys and girls) at the age at which all is possible. They meet, they love, they choose. The film comes and goes between all those people, revealing their anguish, their dreams, depicting the portrait of a generation of the '90s which has both the fury and the fear of life.

Ten young people ( boys and girls) at the age at which all is possible. They meet, they love, they choose. The film comes and goes between all those people, revealing their anguish, their dreams, depicting the portrait of a generation of the '90s which has both the fury and the fear of life.

It’s summer, on the beach of this little town in Brittany, a man is building a sand castle. A few people watch him. We will be told the story of three of them: a boy, Jumbo, aged 9; François and his sister Zaza. All of them had to deal with the death of somebody they cherished.

It’s summer, on the beach of this little town in Brittany, a man is building a sand castle. A few people watch him. We will be told the story of three of them: a boy, Jumbo, aged 9; François and his sister Zaza. All of them had to deal with the death of somebody they cherished.

A medical intern finds himself drawn into a world of international intrigue after discovering a shrunken human head in his luggage.

Short film with couples kissing.

More young cinephiles in part two of Skorecki's three part film.

With an off-beat sense of humor to match its erratic central character, this original comedy-drama features Jean-Philippe Ecoffey as Yves, a young man who works as a cop at night. The catch is that Yves turns to petty crime during the day, partly to impress Aurore (Aurelle Doazan), a nurse he idolizes from afar. His criminal hobby seems hard to understand, since it's doubtful that they will really get him anywhere with Aurore; besides, she already has a boyfriend. Nevertheless, Yves starts out by robbing a post office and ends up trying to run over Aurore's boyfriend, an act which finally gets him into serious trouble.

La Zone - the poor, dangerous quarters of Paris (George Lacombe, 1928); the administrative zone where Orpheus looks for his lost Eurydice (Jean Cocteau, 1950); Interzone - the working title for Naked Lunch (W.S. Burroughs, 1959). In 1983, Ossang created a synthesis of all these territories of unrest under a banner of dead colours. - IFFR