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A moustachioed Frenchman presents his performing cats.

For the first time ever a documentary unveils from within an investigation led by international justice. Khmers rouges, une simple question de justice (2012) follows the steps of an International Investigative Judge and his team, appointed by the United Nations, in tracking down those responsible for the crimes committed in Cambodia under the Khmer Rouge regime from April 1975 to January 1979, as a result of which nearly 2 million people perished. Shot over a period of 3 years, and backed by interrogatory and judicial reconstitutions on the 'crime scenes', the film reveals the horror of such a regime, helping us to understand the task and stakes of international justice.

This documentary brings a lighting on the originality and the specificity of the actor-author Pierre Richard, improbable synthesis of the talking ant silent films, heir to Buster Keaton for the gestural one and the expression of the body, and to Groucho Marx for the puns and the burlesque verbal one. Conceived like a voyage inside the universe of Pierre Richard, "the Art of unsteadiness" makes it possible to better understand its step, its method of actor, director and gag man. With through many testimonies, extracts of films and archives documents, drawn up here the portrait of one of the large last burlesques.

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.

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'.

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.

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)