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In 2008, Le Macabre, a small Italian CBGB's, closed its doors. Like the famous New York club, it was a hub for rock music in the 1980s and 1990s, but was located in Bra, in the sleepy Italian province. Diaframma, Marlene Kuntz, Vinicio Capossela, Nico, C.C.C.P., and many others performed on its stage. Through its protagonists, the film tells the story of the birth of a music movement that wanted to shake off the myth of singer-songwriting. It is the story of the Busso family who created and ran it, but also that of a generation that found an identity in music.

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In L'Alpe d'Huez, Élisabeth falls in love with Christian, who refuses to marry her, claiming that marriage is a crime against love. When she finds him in the company of another woman, Élisabeth breaks up with the young man. Later, she meets him again and becomes pregnant.

搬到新城市后，萨沙（Sasha）转入了一所新的高中。她神秘又有魅力的个性，无论走到哪里都给人留下深刻的印象。和其他青少年一样，结交新朋友、和男孩调情，以及和父母争吵都是她日常生活的一部分。但就在两周前，大家还把萨沙当成男孩。作为一名双性人，她刚开始接纳自己的女性身份……

This document proposes an immersion in the French society of the 60s and 70s and in the youth of the time with the testimonies and confidences of Sheila, Salvatore Adamo, Antoine, Hervé Vilard, Michel Fugain, Nicoletta, Michel Jonasz, Laurent Voulzy and the photographer Tony Frank. They tell with hindsight and humor, their beginnings in the 60s and 70s, and before becoming idols. It is also an opportunity to leaf through the pages of the successful magazines of the time "Salut les copains" and "Mademoiselle Age tendre". Created by Daniel Filipacchi, they highlighted the idols of the moment, music, fashion, sexuality, consumer objects and questions about society.

Henri wants to adapt the novel Adolphe by Benjamin Constant for the cinema. He finds the filming locations and asks Hélène to play in the film. And the irony of fate will make them experience the same drama as the hero of the film.

The year is 1933. Ruby Rose (Melita Jurisic) is an Australian woman living with her Welsh immigrant husband Henry (Chris Haywood) in the Tasmanian highlands. Cut off from her superjudgmental family, for whom Henry had once worked as a humble farm hand, Ruby remains isolated in her tiny house. Superstitiously terrified of the dark, she begins developing her own folklore about the inky blackness that surrounds her each night; this folklore eventually develops into Ruby's own personal religion, created to ward off the evils that she imagines lurk in every corner. Only by venturing out of her house and rekindling her relationship with her embittered father is Ruby able to exorcise her fears. Almost hypnotic in its stark beauty, Tale of Ruby Rose is proof enough that writer/director Roger Scholes deserves to be far better known.

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