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In Ghassan Salhab’s short filmic poems and political documentaries, he deliberately uses minimal images to make eloquent expressions of the desire for a new reality. As Salhab puts it: “The uprising in Lebanon was seriously starting to run out of steam; the first lockdown abruptly interrupted it, temporarily, we think. Now, as Bernard Noël Wrote, we must raise our fists and fight the memory.”

In Ghassan Salhab’s short filmic poems and political documentaries, he deliberately uses minimal images to make eloquent expressions of the desire for a new reality. As Salhab puts it: “The uprising in Lebanon was seriously starting to run out of steam; the first lockdown abruptly interrupted it, temporarily, we think. Now, as Bernard Noël Wrote, we must raise our fists and fight the memory.”

One evening, Etienne, a police officer from the BAC, and Christian, his teammate, witness the assault of a young girl. But the killer manages to escape, seriously injuring Christian. Shortly after, Etienne discovers, on the one hand, that Angèle, the woman who left him seven months earlier, is about to give birth and that his new boss, Alex Le Guen, is none other than the man he spent the night with after a drunken evening.

In the shadows of society, rival ninja clans fight to control an ancient technique which holds untold strength. This coveted power dwells within apathetic Miharu, a fact the guy really couldn’t care less about—until the clans bring their war to him.

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暂无英文版的简介，请添加内容帮助我们完善数据库。

A story about the problems of a contemporary woman in her everyday life. Through the lives of a mother and her two daughters, there is a noticeable effort to capture the fragile world of women, connected with the struggle for independence and self-realization.

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Simon, Mana and Eloka are sitting at the atelier’s table drinking scotch in silence. As one of them evokes his experience of the smoky taste in a boggy forest, Simon says that only rats would survive the end of the world. He finds it sad and beautiful.