Philippe Roy

As a talented producer for the dating reality-TV show, 'Head Over Heels', Claire Bardoz's days are spent behind the curtain, focused on producing the epic love stories of her contestants, all the while living vicariously through her own lacking love life.

Лаура — руководитель отдела маркетинга из Чикаго, что отправилась наблюдать за кулинарным конкурсом в маленьком городке на Среднем западе. Так же в её задачи входит заключение договора с владельцем маленького барбекю-ресторана Джимом, по условиям которого он продаст лицензию на свой фирменный соус. Лаура и Джим - два совершенно разных человека, но, тем не менее, они всё же сумели найти общий язык.

When Emma turns twenty, she decides to join the army. Not only does she want to follow in her father’s footsteps, but she also yearns to rid herself of an oppressive sense of existential emptiness. Although the army’s harsh discipline helps her break free, she slowly discovers that she cannot suppress all her emotions in this male society.

An antique seller and a cleaner clash over how to downsize a magnificent estate right before Christmas. As the two uncover the house’s treasures, they find a way to reconnect the reclusive owner with his own Christmases past.

Abandoned by her mother in a group home of the DPJ, Émilie (13) tries to flee her new reality. Influenced by the people she meets on her getaway, her ray of hope lies in learning a musical instrument.

Almost forty years after its first appearance in You The Better, the house returns as a character in Beckman’s new work Reach Capacity, now symbolising real estate. The economic and political elements and the structure of the film are closely associated with the most famous of all board games dealing with real estate, Monopoly. Its origins go back to the early 1900s, when Elizabeth Magie created a first version of what she called The Landlord’s Game. Magie’s game had two sets of rules, a Prosperity set and a Monopolist set (only the latter was kept by Parker Brothers when they further developed the game without her). Magie’s aim was to illustrate how society as a whole thrives when monopolies are banished and income is distributed equally. Beckman takes over Magie’s dual game structure by having her screen flip over when a monopoly is reached.

Navigating the treacherous social tides of high school, Marine is cut adrift by Océane, her older sister who’s caught in the thrall of an older man. Meanwhile, their mother struggles to keep her head above water.

Audrey learns how to communicate with her dying mother who is in a hospice. It is Audrey’s last chance to prove to her mother that love supersedes identity issues. This is also her ultimate attempt to tell her mother what she has always been: her daughter.

Upon learning of their mother's death, Samuel and Émilie, two mentally challenged siblings, run away from their group home in the middle of winter. As they go deeper and deeper in the forest, their relationship is put to the test.

A cargo ship is stuck on the Canadian Saint Lawrence River for repairs. Traoré, an Ivory Coast mechanic is unjustly accused of causing the damage.

When a divorced music video producer is forced to shut down his company, he attempts to rebuild his relationships with his father and estranged teenage son.

Carl's life boils down to two things: receiving blows and persisting in spite of everything in leading a "normal" existence. Engaged in the army, he hopes to be able to escape this daily life, between a silent grandfather and Cadorette, his childhood friend with whom dialogue seems impossible. One night, following an altercation, Carl and Cadorette miss the last boat to return home. They then decide to cross the river, at all costs…

Paul, on a trip to Havana, is experiencing difficulty keeping a smile on his troubled face. He meets Agnela, a young local working girl, whose job it is to please with a practiced smile of her own. No matter, how close they get or how hard they try to soothe their broken souls, their attempts remains vain. They are too busy disconnecting themselves from hidden, unwanted emotions to achieve a true much needed human contact.

A moving portrayal of an ineffable force that can be humanlike or embody itself within displayed objects. Inspired by concepts from the Koropokkuru folktale within Japanese Ainu culture, as well as The Invisible Man.