Herve Rossini is a renowned artist who expresses himself through his surrealist garden.

With his camera pointed at subjects who are far from intimidated by his presence, Jean-François Caissy invites us into the chaotic and authentic world of early childhood. Jardin d'enfants follows several groups at a daycare centre, focusing on the seemingly mundane daily lives of one- to five-year-olds: their interactions, confrontations, desires, curiosities, and frustrations. These candid composite images feed our insatiable curiosity about these unbridled beings with budding motor skills who are testing their brand-new senses and the constraints of their worlds, those individual bubbles in which they are firmly at the centre. Over time, socialization does its almost invisible work and behaviours develop, reminding us of all the effort and energy expended in shaping the social animals we are.

Divested of its traditional attributes – glass slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s la Cenerentola plays with these most conventional of fairy‑tale characters. Nonetheless Cinderella lives in a closed world devoid of tenderness and under the yoke of the tormentor whom she protects. Deep beneath her goodness smoulders a fire that her encounter with the prince will set free… Guillaume Gallienne subtly highlights the halftones of this dramma giocoso, somewhere between opera buffa and opera seria, and ranging from sombre melancholy to the burlesque.

Jean Eustache (1938-81) was clearly obsessed with remakes. Not only did he remake his 1968 documentary about his home town, LA ROSIÈRE DE PESSAC, in 1979; he also remade his 1977 documentary UNE SALE HISTOIRE twice—first as a fiction film, and then, less literally, as a documentary about Bosch’s “The Garden of Earthy Delights” two years later. 　　Let me explain. The first version of UNE SALE HISTOIRE, designed to be shown second, and shot in 16mm, features Jean-Noël Picq recounting a supposedly real-life “dirty” story to a group of people, mainly women (although also including Eustache himself, visible in the foreground of a couple of shots)—a tale about peering for hours through a hole in the wall of a café into the ladies room in order to watch the snatches of women seated on the toilet. (He calls the women’s snatches their “holes,” and the word trou is repeated incessantly throughout his monologue.) The second version, shot in 35mm and designed to be shown first, adds a short prologue with critic Jean Douchet as a film director (an apparent stand-in for Eustache) asking Michael Lonsdale to tell the same story, this time to a different group of people (again mainly women, but not including Eustache)—which he does, using virtually the same words, while the women listeners make precisely the same comments. (The only previous time I saw this film, in Paris soon after it was made, these separate versions were shown respectively in 35mm and 16mm. In the Eustache retrospective currently touring in the U.S., they’re both shown on 35mm, which obscures some of the visual differences.) 　　As for HIERONYMOUS BOSCH’S “THE GARDEN OF EARTHLY DELIGHTS”, this shows Picq again, in a different living room, describing and discussing Bosch’s famous triptych (see photo below), mainly the middle panel, to a group of young people, again mainly women, who again add a few comments of their own. The main emphasis here is on various body orifices. 　　An obsessive-compulsive filmmaker and clearly a tormented one who wound up dying by his own hand, Eustache was clearly experimenting with his variations as well as goading viewers into examining their own reactions to them. The monologue in both versions of UNE SALE HISTOIRE evokes many of the interminable monologues of Jean-Pierre Léaud in THE MOTHER AND THE WHORE (1973), all of which were reportedly real-life monologues that Eustache delivered to friends or lovers and then transcribed shortly afterwards.

Samuel goes to Nice to pass the exam of the School of Fine Arts. He is accompanied by Nordine, uncultivated in art who takes some holidays.

A goofy-sincere romcom with an indie edge, GÜLE-GÜLE follows two beautiful people, seemingly strangers, who can’t escape their incredibly annoying partners during a Korean group tour of historic Turkey. Jeong-wha is all but babysitting her perpetually drunk (ex?) husband, and Dae-sik has to humor his supervisor’s juvenile power games. Travel is supposed to be a respite from everyday life, but these two find themselves stuck with the parts of home they most want to escape.

In an abandoned world, a small rodent wanders in search of life. One day, he discovers a house covered in flowers, a true oasis amidst the ruins. There, he has an unexpected encounter with a giant...

Le Cercle est basé sur des connaissances générales auxquelles il faut répondre, à tour de rôle, le plus rapidement possible. Du lundi au vendredi, Paul Houde et Charles Lafortune reçoivent, dans un studio, les dix mêmes participants qui tentent, jusqu'à ce qu'il n'en reste qu'un, de se rendre, suite à quatre jeux définis, à la finale pour tenter de gagner 5000 $. À mesure que les jeux avancent, les participants perdants sont envoyés dans la zone de lendemain et ne peuvent recommencer qu'à l'émission suivante. Qu'il gagne ou non, le participant réussissant à se rendre en finale pige une des cinq enveloppes, diminuant jusqu'au vendredi, où se trouvent des prix valant à peu près 1000 $, ainsi qu'un voyage.

Le Cercle est basé sur des connaissances générales auxquelles il faut répondre, à tour de rôle, le plus rapidement possible. Du lundi au vendredi, Paul Houde et Charles Lafortune reçoivent, dans un studio, les dix mêmes participants qui tentent, jusqu'à ce qu'il n'en reste qu'un, de se rendre, suite à quatre jeux définis, à la finale pour tenter de gagner 5000 $. À mesure que les jeux avancent, les participants perdants sont envoyés dans la zone de lendemain et ne peuvent recommencer qu'à l'émission suivante. Qu'il gagne ou non, le participant réussissant à se rendre en finale pige une des cinq enveloppes, diminuant jusqu'au vendredi, où se trouvent des prix valant à peu près 1000 $, ainsi qu'un voyage.