Winter 1862. In the midst of the Civil War, the US Army sends a company of volunteer soldiers to the western territories, with the task of patrolling the unchartered borderlands. As their mission ultimately changes course, the meaning behind their engagement begins to elude them.
Éléonore drives west. Her car breaks down in the middle of Brittany, France. She rents a bungalow there in a camping with a view of the lake, in which, it is said, lives a legendary beast. From mobile home to mobile home, she observes the present, summons the past and lets herself be invaded by fiction.
It's a film of highways, tourists on transhumance, concrete picnic tables, queues for toilets, warm melons and carwashes. It's the film of a man who wants to leave and a little boy who holds him back. It's the summer movie.
Under a scorching sun, seventeen-year-old Purdey and his fifteen-year-old brother Makenzy are left to fend for themselves. While Purdey cleans houses in a hotel complex, Makenzy makes some money by stealing tourists. Between the recklessness of adolescence and the harshness of adulthood, they will have to support each other in this heartbreakingly sweet journey, which seems to be the last summer of their youth.
Otro Sol is a group of real and invented characters trapped in a film. It is also a purgatory of retired thieves that takes place on the coast of the Atacama Desert. The film is circular and seeks to invent and verify the myth of Alberto Cándia, a Chilean international thief who stole the Cathedral of Cadiz in Andalucia in the late 1980s.
Aya grows up with her mother on the island of Lahou. Joyful and carefree, she likes to pick coconuts and sleep on the sand. However, her paradise is doomed to disappear under the waters. As the waves threaten her house, Aya makes a choice: the sea can rise, but she will not leave her island.
Gigi is a rural policeman who works in a place where nothing ever happens… until a young woman commits suicide by throwing herself onto the tracks as a train passes.
Spring 2017, in between the two rounds of the French presidential election. Pierre, a 25-year-old scholarship holder studying in a big Parisian school, lives with 75-year-old Francine, who is disabled and wheelchair-bound. Politically and socially opposed, they are perplexed and disoriented as they witness the unfolding electoral spectacle. While waiting for the results, they engage with each other, as Pierre tries to take care of Francine’s body and she attempts to heal his voiceless resentment.
Some kids in Brussels play a game based upon objects that were brought back from the Congo and which were used during the Hutereau expedition.
Damien Samedi is 43 years old. When he was a child in his Belgian village on the banks of the river Meuse, they called him the “Petit Samedi”. To his mother, Ysma, Damien is still her child, the one she never abandoned when he got caught up in drugs. A son who sought to protect his mother despite it all, a man attempting to liberate himself from his addictions and faces his past to get through.
How do Europeans deal with their recent dark history (the wars, dictatorships and occupations)? What traces are etched?
Filmmaker Binevsa Bêrîvan travels to Armenia to capture the daily life, customs, and history of the country's Yazidi Kurdish community.
Frans Masereel is one of the most fascinating Belgian artists of the 20th century. His work, essentially composed of black and white engravings, is a cry of rebellion against the tragedies of his time. Forced into exile for his pacifist convictions, he embodied, alongside writers like Stefan Zweig and Romain Rolland, the dream of a cultural and brotherly Europe. Through an imaginary correspondence the director addresses to the artist, the film sketches the portrait of a free, touching man who, throughout his life, attempted to break free of art dealers and put his creations in the hands of all.
At the tip of Brittany, the island of Ouessant—a grassy heathland swept by sea winds—is the last land before America. Given its geographical situation, it is a place that opens wide the doors of imagination. A Girl from Ouessant is an invented and, at the same time very documented, cartography of the island. This methodical statement starts as the diary of Éléonore Saintagnan, the resident artist-filmmaker at the Créac’h semaphore station, an ideal site for observing the surrounding area. Then, the account shifts towards a playful mise en scène, peopled with sailors’ wives, kelp burners, stories of little black sheep or countless shipwrecks… Drawing on the regional archives filmed in black and white dating from a time when the island lived mainly from fishing, the game begins.
A filmmaker's search for Yambo Ouologuem, a once famous writer who no longer wants to see any white people. Along the way, he meets five university students interested in the relationship between Africa and the West and who question the desire to go somewhere else, to leave the country and with it the culture that is theirs and their parents'.
Peaches Goes Bananas takes an intimate look at artist and musician Peaches' playful and intoxicating creative world. Real name Merrill Beth Nisker, Peaches left home and her job as a schoolteacher in Canada with the ambition of making a name for herself in the Berlin Underground, combining sex, punk, and the sweet memory of the early '80s, when disco went underground again.
