一部动画电影，其灵感源自钢琴家米哈伊尔·鲁迪（Mikhaïl Rudy），该电影改编自瓦西里·康定斯基（Vassili Kandinsky）1928年在德绍弗里德里希剧院（Friedrich Theater de Dessau）构思的一场演出。米哈伊尔·鲁迪是一位极富创造力的艺术家，多年来，他以精湛的技艺和富有诗意的想象力，在全球范围内赢得了观众的喜爱。他围绕穆索尔斯基（Moussorgs）的《图画展览会》展开的创作……

In a post-apocalyptic world, a love triangle involves three models under the spell of a demiurge fashion designer. TABLEAUX D'UNE EXPLOSION is a collision, a reinterpretation of the Petrushka tale set to Mussorgsky's music, 'Pictures at an Exhibition'.

Trente tableaux is a 2011 autobiographical feature documentary by Quebec film director Paule Baillargeon, made during her two-year film residency with the National Film Board of Canada. It is an anthology film composed of 30 short portraits—or tableau vivant—of her 66 years of life to date, reflecting her experiences as a woman in Quebec's changing society.

A dinner reunion of two childhood friends and their spouses turns into a disaster when they realize they have radically different lifestyles.

Nicolas, deeply in love with Julie, dreams of marrying her. Touched by his passionate love, she decides to break up with her lover Philippe, who is more than 20 years her senior and married to Marianne. In order to retrieve the keys to her studio apartment, she must meet Philippe one last time at his home and leads Nicolas to believe that she is going to her parents' house. He secretly follows her.

A slightly risqué scene. In her bedroom, a young woman, standing on a rug in front of her bed, removes her corset. Smiling, she bares her shoulders and puts on her nightgown before letting her petticoat slide down. Then she picks up a daisy, plucks its petals, and gets under the covers.

A sensory and poetic experience where fantasies and dreams clash with the constraints of everyday life, Chronique d'une ville questions our relationship with the bustling metropolises developing around us at a sometimes elusive pace. Magnetic and impenetrable, with their incessant flow, they attract us as much as they confine us. This film, with its immersive soundtrack, patient camerawork, and meticulous editing, takes us through the streets and winding alleys of Mexico City, Tokyo, and Montreal, where millions of individuals coexist, both alone and surrounded by others. Nadine Gomez reveals several characters whose stories intersect and echo each other, while also giving a voice to these cities that transform us as much as we transform them.

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Camille Anker takes us on a road movie where we, like the protagonist, sit in the passenger seat. But instead of looking out of the window and enjoying the journey, she just wants to get to her destination. The driver endeavors to stretch out the time in the car. ------ This road movie takes us through the anguish of abusive relationships for which there is not always a way out, a destination. Like passengers, we travel along endless roads that seem to lead nowhere. Behind the wheel is a man whose connection to the protagonist, sitting in the passenger’s seat, is not entirely clear. That relationship is gradually revealed, at the same time as a somewhat imprecise unease sets in, where the feeling of imprisonment deepens with every kilometer traveled. The road becomes a reflection of conflicting emotions, a space where fear and uncertainty accompany the monotony of continuous movement, and where a silent threat lurks around every bend. Who are those people? Do they want to be there? Do we want to be there, like passengers hitching a ride in a relationship full of unspeakable tensions? After all, how can we escape from a journey for which we don’t have a map, nor do we know for sure if there is a point of arrival? (Margarida Moz)