A devoted mother is distraught when her ten-year-old son is kidnapped on his way to school and is forced to reconcile with his father, who had no idea that he existed, in order to find him.

The beginning of 1945, Poland. In a newly liberated country, the Communist Security Service is annihilating its enemies under the guise of punishing "national traitors." They organize a labor camp for Germans, Silesians and Poles, on the site of a former Nazi concentration camp called Zgoda / Reconciliation. Franek, who is in love with the Polish prisoner Anna, goes to work as a warder in the camp to save her. He does not know that one of the prisoners - Erwin, his German friend, also loved this girl for a long time. Franek joins the communists in the illusory hope of outsmarting the system.

A homeschooled girl from Pennsylvania tries to reconnect with her estranged half-sister and land a marketing job at their uncle’s donut shop by hiring an actor to reenact a reunion that never happened. A satire of branded content and short films.

RECONCILIATION is a groundbreaking, provocative story about an estranged father and son struggling to overcome the heartbreaking consequences of their past. Grant Taylor (Eric Nenninger) has been troubled by intense childhood memories ever since his wife, Sara (Chelsey Crisp), gave him the exciting news..."You are going to be a dad!" As fatherhood nears, Grant privately wrestles with his embarrassment and anger toward his own father. His memories come to a head when Sara receives a call informing them that Grant's dad, Jeff (Jack Maxwell), is terminally ill and his last wish is to see his son. With Sara's encouragement, Grant reluctantly goes to see the man he disowned at his 10th birthday party, when he found out his father was gay. At the hospice, father and son confront the past as they come face to face for the first time in 16 years. Will Grant forgive his father for abandoning their family...

1945年波兰人民军在原德国集中营中关押德国战俘与阶级敌人，一名新参军的看守爱上了关押在其中的波兰女孩，受其影响最终走向了新生

兩個女人與兩個男人會面，彼此交談並提問，問答內容甚至包括遣詞用句的意涵，但主要是關於愛與幸福的人類基本話題。愛的和諧是否能和智慧與才智，恐懼與疲倦相互調和、共存？這四位知曉人生存在價值的男女，以幽默、嚴肅和愉悅之情，攜手共同尋找自己的路。在本片中，聰慧的女導演米耶維勒思考著情侶關係、智識的無趣和疲乏，以及語言的限制。透過四位人物，她將這些亙久以來的人生疑問如戲劇化的白日夢般呈現。這部影片也是一場哲學式的白日夢，談論著孤獨與劇場–也就是電影。 米耶維勒在本片中大量運用文學與哲學典故，如康拉德、海德格、雨果和托爾斯泰之名作或啟人深省的話語，不僅讓影片充滿溫暖與幽默，同時帶觀眾一探她自傳式的過往與哲學背景。本片的迷人之處，在於這齣沙發電影顯露的讓人困惑的處境和喜劇，以及逐漸發展成伴侶治療的後續結果。高達也演出其中一個要角Robert，帶著一貫的嘲諷和引經據典的習慣，比如他向一對雙眼閃爍幸福之光的情侶說：「希望你們不會指望愛能帶來幸福。」他與米耶維勒在片中有精彩的對手戲，米耶維勒難得的強硬姿態，從高達年邁啜泣的身影，到兩人相擁、重修舊好，彷彿是對兩人在現實世界關係的思考。 影片開始，米耶維勒以幾段拍攝孩童的家庭錄像影片說明本片拍攝的動機，然後以一個慢動作鏡頭拍攝米耶維勒身穿鬥牛服，在劇院鎂光燈下奮力揮動長鞭的挺拔身影。這個舞台風格化鏡頭的安排明顯帶有宣示的意味。直到本片的完成，米耶維勒才真正從高達這位導師與伴侶的庇護下走出，綻放個人耀眼的光采。本片確立她獨特原創的作者風格，著重在她特別擅長的演員調度、整合文字和音樂段落，以嚴肅的哲學、藝術式的提問重新安排敘事形式。這些電影有如米耶維勒的影像書寫，人類經驗的複雜面貌，透過細膩的攝影鏡頭與導演敏銳的感性，向觀者反射出無比動人的光采。