An in-depth investigation into the private world of the American writer J. D. Salinger (1919-2010), who lived most of his life behind the impenetrable wall of a self-imposed seclusion: how his dramatic experiences during World War II influenced his life and work, his relationships with very young women, his obsessive writing methods, his many literary secrets.

A cinematic experience by Douglas Gordon - in which the film D.O.A. is screened simultaneously on three screens beside one another, but at slightly different speeds. The films quickly fall out of synch with one another. Déjà-vu uses footage from D.O.A. 1949-50, a Hollywood thriller directed by Rudolph Mateé. The film has been transferred to video and is projected simultaneously on three parallel screens at normal speed as well as slightly faster and slightly slower - 25, 24 and 23 frames per second (left to right). This has the effect of making the three identical narratives diverge increasingly over time, and inducing in the viewer an experience similar to déjà-vu.

In "Déjà-Vu" we follow Florence Fierens, a busy career woman and radio host. With her own morning radio show, she reaches a national audience and is committed to women's rights and against domestic violence. However, her seemingly carefree life is turned upside down when her 15-year-old daughter Louise unexpectedly steps out of life.Grief-stricken, Florence searches for answers, together with her ex-husband and son. More and more it appears that Florence's life was not as perfect as she told herself.

Called in to recover evidence in the aftermath of a horrific explosion on a New Orleans ferry, Federal agent Doug Carlin gets pulled away from the scene and taken to a top-secret government lab that uses a time-shifting surveillance device to help prevent crime.

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À la veille de la coupe du monde de football 2018, les bulldozers détruisent la plus grande cité de garages habitée de Moscou. C’est là, dans les décombres de la vie quotidienne de personnages maintes fois rencontrés depuis 2013, que nous plongeons par un dédale de tunnels… Dans cet espace post-apocalyptique et souterrain, nous remontons le temps et l’Histoire. 　　1991. L’URSS et son économie s’effondrent. Les rues se couvrent de banques étrangères. Les espaces de la survie s’organisent, comme les cités de garages, villes de tôle dans la ville de pierre, où travaillent et vivent encore les survivants de la transition russe : les Garagniki. C’est une autre Russie, parallèle, loin de correspondre à la "Russie éternelle" fantasmée par Vladimir Poutine, qui compte débarrasser les mégalopoles russes de ces pustules, comme d’autant de mauvais souvenirs des années 1990. Des souvenirs pourtant bien réels et vivants : Ilya, Vlad, Bahrom, Ksénia… Ils sont Tatars, Ukrainiens, Azerbaïdjanais, Tadjiks, Ouzbeks ou Arméniens, que l’URSS a laissé là. Tous ont réinventé ici le travail, l’économie, la ville, le pays peut-être. 　　Ce conte d’avant-guerre recompose peu à peu l’impensé de l’espace social post-soviétique et nous plonge au plus profond d’une production urbaine clandestine et autogérée, qui permet encore à près d’un quart de la population russe de subvenir à ses besoins.

This comical love story follows the story of A.J. Fikry, whose life is not at all what he expected it to be. His wife has died, his bookstore is experiencing the worst sales in its history and now his prized possession, a rare edition of Poe poems, has been stolen. He’s given up on people and even the books in his store offer another reminder that the world is changing too rapidly. But when a mysterious package arrives at the store, it gives Fikry the chance to make his life over and see things anew.

A college grad takes a clerical job working for the literary agent of the renowned, reclusive writer J.D. Salinger.

A Christmas angel grants a wish to a Christmas hater, to have her life as a singer.

When two thieves accidentally murder a man at a convenience store, a misguided 11 year old store clerk embodies his hero, an adult-film cowboy, to save Deja Vu Liquor.