“Chalet” is a series of stories that take place entirely in a living room. Written and directed by Malena Pichot.

When ex TV host and socialite Lex finds herself faced with the possibility of spending Christmas sharing a luxury chalet with her son, ex husband and his new girlfriend, she volunteers to work in the chalet to avoid things getting too close to home, while documenting her every move for a new wave of followers loving this new chapter of her life.

When nostalgia makes her rethink the sale of her family cottage, a woman cajoles her husband and loved ones into one last getaway.

A Los Angeles tollbooth clerk becomes obsessed with the Holocaust after meeting a survivor.

A Los Angeles tollbooth clerk becomes obsessed with the Holocaust after meeting a survivor.

On an unnamed island off an unnamed coast, things have begun to disappear: at first little things: ribbons and then roses. Soon, photographs. However, a rare few are able to remember all that no longer exists – but the Memory Police are determined to make sure that what has been erased, remains forgotten forever. When a young novelist realizes her book editor is one of those able to still remember, she hides him in a room beneath her floorboards. As the world closes in around them, they struggle defiantly to hold onto the truth.

The Third Memory, 2000. Two-channel video projection, with sound, 9 min., 32 sec.; single-channel video with sound, 22 min., 30 sec.; and thirteen inkjet prints, edition 2/4, dimensions variable. 　　Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet’s acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist’s charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank. However, rather than clarify the personal history that Hollywood wrested from him, Wojtowicz appears to have been heavily influenced by the film, a testament to the inextricable merging of real events, the distortions of memory, and the mediating power of popular culture.

The Third Memory, 2000. Two-channel video projection, with sound, 9 min., 32 sec.; single-channel video with sound, 22 min., 30 sec.; and thirteen inkjet prints, edition 2/4, dimensions variable. 　　Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet’s acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist’s charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank. However, rather than clarify the personal history that Hollywood wrested from him, Wojtowicz appears to have been heavily influenced by the film, a testament to the inextricable merging of real events, the distortions of memory, and the mediating power of popular culture.

At a local village in bulletproof Ban Phaeo District Samutsakorn glass young people who pursue a career as a pastry sugar trade. Every afternoon she likes mingling in the tuberose bed. But one modern day, Dok Kaew met Thep Tai, a young doctor who came out of the established camp to eagerly volunteer to heal local people in the historic Phaeo neighborhood by excellent chance. Fate led the two of them to have the same love from the event that Dok Kaew was infatuated with Thep Tai. Help relationship thousand Chiat well formed quiet Mrs. Fulham drunkard addicted to gambling and the mother of glass have taken her from Banpaew to take my daughter to work or give things in exchange for economic interest and stuffed stretches to glass is mare Royal Exposition ministry officials. Rich rich man in Bangkok Dok Kaew reluctantly suffers and comes to Ban Nopparat as Khun Luang's 3rd married wife.

A college student works a part time job at a bookstore, and meets an older patron wearing a long coat who tells her that "the young are beautiful, but the old moreso". Shortly afterwards, a friend tells her of a suspicious person who has been following her mother. When she gets home, she finds her mother watching a high school film from decades ago, featuring her mother and father, as well as another boy they both seemed to get along with. On the path to find her mother's stalker, our heroine arrives at a second floor detective's office with her friend. Together, they tail the suspect in a car, but...