A love journey along a side path. From her cabin to the ‘garden of little brambles’, the director engages in dialogue with the beings she encounters. Women, animals, flowers, trees, and books joyfully coexist in this quest. 　　[FR] Un parcours amoureux sur un chemin de traverse. De sa cabane jusqu’au « jardin des roncettes », la réalisatrice dialogue avec les êtres qu’elle rencontre. Femmes, animaux, fleurs, arbres, livres cohabitent joyeusement dans cette quête.

Michelle Leska和Christophe Clark是一对蜜月情侣，他们去了一家旅行社，玛丽莲·杰斯是新来的员工，因为与老板Jacky Jack的一次非常亲密的采访。她搞错了加那利群岛度假的预订，当Michelle和Christophe到达时他们发现他们的房间被重复预订了，他们不得不与安德烈·凯一起住，当这对夫妇试图完成他们的婚姻时，他们就会被打断，而安德烈和流浪汉Bertrand Corne准备和一对度假女孩约会，而奥利维尔·马修在为他的性俱乐部寻找演员时遇到了麻烦。最后Michelle和Christophe去了俱乐部做演员……

On The Blackboard recounts classroom and schoolyard memories that smell of erasers, fake leather soccer balls, chalk dust and a declaration of love to a teacher.

In his middle management office, Dubreuil uses erotic messaging. He tries to find the excitement lost.

A program of debut shorts from some of cinema's greatest diectors. Curated by Emir Kusturica and Stephen Frears, featured auteurs include George Lucas' "1.42.08 to Qualify" (1966), Ridley Scott's "A Boy and a Bicycle" (1965), Robert Zemeckis' "The Lift" (1972), Tony Scott's "One of the Missing" (1969), Kusturica's "Guernica" (1978), Luc Besson's "L'avant dernier" (1981), Lars von Trier's "Nocturne" (1980), Terry Gilliam's "Storytime" (1968), Paul Verhoeven's "A Lizzard Too Much" (1960), Roman Polanski's "Le gros et le maigre" (1960), Jane Campion's "Peel" (1982), and Frears' "The Burning" (1967).

Claude Géraudy, a banker responsible for a financial scandal, is forced to flee and hides in the mountains with the help of Manu, a young smuggler. Florence, his wife, refuses to join him. Desperate Claude commits suicide, Florence then decides to pass her suicide off as murder in order to receive her late husband's life insurance.

Touched by the grace of speech, two dogs philosophize in a hospital car park, at night. Together, they paint a bleak picture of a humanity in the grip of a grand calamity, crumbling on the way our all too human certainties.