From the magic potion to the chemical composition of the worldwide success of Asterix, the film will tell of the genesis of the work, the creative complicity between Uderzo and Goscinny as well as behind the scenes anecdotes.

In a world of snow, silence, and unseen struggles, a young nomad woman dreams of a brighter future. Winter is approaching in the remote Iranian Zagros Mountains, and 16-year-old Sogol lives a fragile life on the edge of childhood and adulthood. Her family’s existence, rooted in nature and sustained by tradition, is shaped by patriarchal customs and the pressures of a changing world. Though she lacks a formal education, Sogol dreams of a different future for her younger family member Delaram, believing education can break the cycle of tradition and offer new possibilities. Sogol dares to imagine a future beyond the mountains for Delaram, but delicate dreams can be easily lost in the harsh wilderness. “It’s Winter” offers a rare look into a disappearing way of life, capturing the rhythms of the seasons and the rugged beauty of the landscape. This film is a sensitively told portrait of a family holding on, and of a young woman daring to imagine more.

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After her brother's death by overdose, Delaware delves into the world of drugs. Two years later she agrees with her father to submit herself to a drugs rehabilitation program in a special clinic in England. When she arrives for the treatment, with a small group of other drug addicts, she gets in touch with the doctors' unorthodox methods and soon realizes she's stuck in a place where morbid and strange experiences with drugs take place.

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Researchers try to establish the medical benefits of LSD.

A cabaret is used as a cover for drug trafficking, but the police are unable to uncover the means used to smuggle the opium. It turns out that one of the accomplices is repatriating the bodies of her compatriots who have died abroad and smuggling the drugs. A race is waged between the police and the culprits: the law triumphs.

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Is there such a thing as strictly feminine cinema? Is it more difficult for a woman than for a man to direct a film? Is gender parity necessary in the industry? Actress and producer Julie GAYET and actor and director Mathieu BUSSON ask these questions to twenty French woman filmmakers, who face a camera together for the first time. After over an hour of lively, informal, spontaneous and funny interviews, it becomes obvious that these issues are still problematic and definitely worthy of a documentary. As Mia HANSEN-LØVE remarks, “In the eyes of the people, a woman’s film is always a woman’s film, while a man’s movie is simply… a movie”.

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