Chronicle of a Summer 1961
Paris, summer 1960. Anthropologist and filmmaker Jean Rouch and sociologist and film critic Edgar Morin wander through the crowded streets asking passersby how they cope with life's misfortunes.
Paris, summer 1960. Anthropologist and filmmaker Jean Rouch and sociologist and film critic Edgar Morin wander through the crowded streets asking passersby how they cope with life's misfortunes.
The lives of a lawyer, an actuary, a housecleaner, a professor, and the people around them intersect as they ponder order and happiness in the face of life's cold unpredictability.
A raw and telling portrait of a people left behind by the modern world, inspired by the work of photographer Martin MartinĨek - whose pictures of the inhabitants of the Liptov region in central Slovakia, encompassed by the Tatra mountains, distilled entire lifetimes into luminous and intransient images. Dušan Hanák's continuation of these photographs takes the shape of a poetic visual essay, capturing more comprehensive vignettes of their isolate human experiences.
Marusya is 16 and, like many Russian teenagers, is determined to end her life. Then she meets her soulmate in another millennial, Kimi. They spend a decade filming the euphoria and anxiety, the happiness and misery of their youth, muzzled by a violent and autocratic regime in the midst of a “depressed Russia”. This film is a cry from the heart, a tribute to an entire silenced generation.
In their vehicle, Laurie, Kristy and Linda live alone on the American roads. Like thousands of modern American nomads who can no longer afford to pay for their housing. With no money to spare, these three sixty-year old women are fleeing, in their own way, a part of their history that has left a deep mark on them. Driving away, they try to regain some form of peace. But as the miles and seasons pass, despite their impressive temerity and resilience, their quest for a better future is challenged by unexpected events that hit a country in crisis. Will they nevertheless manage, at the end of the road, to find the serenity they are looking for, in order to become someone again?
Today, against a backdrop of sharply increasing demand, growth in the world population and the growing impact of an unsettled climate, water has become one of the most precious natural resources of our planet.
With the energy of the dying, those in power apply themselves to reasserting the value of work – with force, if need be. But more and more workers have understood that, to truly value their work, they have to do without it. They also have to get rid of the society of consumption that goes along with it. It may not be easy, but it is certainly amusing. We present a panorama of a mass desertion destined to spread.
After losing his job during lockdown, Natan signs up to a microtask website. Having become a “Turker” alongside tens of thousands of others, he is paid a cent for each face he erases on Google Street View. Under the guise of Otto, a fictional character, he embarks on an experimental and playful investigation into “clickworkers”, haunted by the spectre of Beckett.
Two friends turn on each other after discovering a rare artefact beneath a sacred shrine, and must hone their respective skills if they are to fight one another to the death in hopes of claiming it.
"On the Tip of the Heart" - is a documentary on the St Peter's Hospital in Brussels, structured around seven doors from the maternity to the morgue. This is an opportunity for the director to ask the audience a question, namely: what is there in common between a medieval city, human life and a hospital?
Post-Apocalyptic England. Andy, who recently lost his brother, is chased down by a group of old friends. He is forced to hide in an abandoned home, which to his surprise has a crazed alcoholic living in it.
Marta and Karina are sex workers also studying to become lawyers. Filmed over ten years, this documentary captures their unlikely journey from prostitution to the defense of women's rights.
What is it like to be young and grow up on a reserve? Focussing on music lessons, the film reveals the complex relationships that Indigenous youth can have with their “white” teachers. How can two cultures come together? A question the film asks, while inviting us into the private worlds of three Atikamekw teenagers, Myrann, Wapan and Seskin, who are trying to build their future and find a place in this world.