Pierre Dupouey

Focusing on the work of cartoonists in Egypt, Algeria, Syria, and Palestine, this documentary examines how comic strips and caricatures are becoming a vehicle for dissent and a voice for freedom of expression in the Arab world.

Malak is a star singer who lives with her mother and her daughter, Loula, in her villa after her divorce. She falls in love with an opportunist called Lam'ey, so her daughter sets out to expose him with the help of her lover, a driver called Nasser, and the director, Ezz-ElDin who deeply loves Malak.

Фильм - ожившая рембрандтовская картина, как бы многокадровый автопортрет художника - от молодости и до самой старости. И все это - на фоне страстей, которые кипели в Амстердаме в XVII веке...

Iranian Iradj Azimi directed this French historical drama re-creating events depicted in the famous 1819 painting The Raft of the Medusa by Jean Louis Andre Theodore Gericault (1791-1824). The ill-fated voyage of the frigate Medusa begins when it departs Rochefort for Senegal in 1816. After striking a sandbar off the African coast, 150 civilians row safely to shore, but Captain Chaumareys (Jean Yanne) orders 140 soldiers and sailors onto a raft (minus supplies) and has it cut loose. Only 14 survive from the 140, creating a scandal back in France. Gericault (Laurent Terzieff) later talks to three of the survivors while researching his painting. Work on this film began in 1987, but sets destroyed by Hurricane Hugo caused delays, so the film was not completed until 1990. However, it then remained undistributed until an incident in which writer-director Azimi slashed his wrists in front of French Ministry of Culture officials.

The end of an affair from the woman's point of view.

Jérôme and Sophie are "foreigners". They evolve in a world whose rules seem to them as many constraints and adopt unusual behaviors which can disorientate their interlocutors. They say they are brother and sister and many people prefer to believe them and be satisfied with this version for fear of supporting a situation that is too scabrous. Only Olivia accepts to assume the situation. Her taste for derision and her humor allow her to overcome the provocations of the couple and to take an ascendancy on them.

Quentin and André, two brothers who had lost sight for several years, find themselves in the family home, uninhabited since the death of their parents.

A young Italian stops at a filling station on the freeway, and having some time to kill, telephones a friend. He recounts his adventures as a gigolo, but in doing so as a sudden awareness causes him to reconsider certain values that had escaped him, bringing him face-to-face with himself.

Sophie Tatischeff's short film set in the small town of Sainte-Sévère-sur-Indre, three decades after its use in her father's film 'Jour de Fête'. The conversation from a typical village bar is transplanted to a patisserie with particularly tempting tartlets: 'No reason for us not to have another' says one habitué; 'no more for me thanks,' says another. 'A shortbread at this time of day?' asks the woman behind the counter.

A couple in a hotel room in Brussels. A painting by Brueghel. In this painting, a mystery.