A parody of television shows and streaming platforms.

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.

Do you like soccer? Do you like theater? Then you've got it! Lorànt Deutsch has come up with a revolutionary concept for our hero Fred, a frustrated film director who dreams of becoming a writer. In the meantime, he's doing a series of increasingly conventional and unsurprising interviews with footballers for sports channels. His love life is hardly more satisfying. He goes from conquest to conquest, refusing to be tied down. A blurred, disjointed daily routine. Until the day Fleur, more friend than conquest, tells him she's accidentally pregnant with his child. He had dreamed of being a producer, director or TV presenter. But never as a father.

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在小卡莱布（Kaleb）的世界里，有非法移民母亲贝蒂（Betty）、充当他哥哥的梅赫迪（Mehdi），尤其是那位独居的裁缝让 - 吕克（Jean - Luc），他对这个小男孩产生了喜爱之情。在巴黎茫茫人海中，他们本不该相遇。然而命运却将他们聚集在一起，组成了一个临时家庭，他们因一项构建……的使命而联系在一起。

Willy - Juliette's Teddy Bear - has disappeared. Marcel will bring her through an initiatory and burlesque journey straight to the Toy's Cemetery where lies our dreams and fears.

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芝加哥建筑电影节短片介绍法国建筑师如何翻新法国航空（Air France）所属的《世界报》（Le Monde）报业大厦。

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This socially-driven film explores the impact of technological changes on the city of Saint-Jérôme, which faced a severe socio-economic crisis in the 1960s, mirroring issues in other Quebec cities. Citizens from all social classes come together in a monumental effort to address the crisis. The film serves as both a reflection of this situation and a catalyst for action, acting as a mediation tool between technology and those affected, and facilitating participation in the reorganization of society.