Third part of a French TV series about the creation and building of the town of Cergy-Pontoise.

Un film réalisé au studio Image et Mouvement de la Structure d'Accompagnement à la Sortie (SAS) des Baumettes, dans le cadre des actions de réinsertion portées en partenariat avec l'administration pénitentiaire et d'un accueil en résidence des cinéastes Joseph Césarini et Iacopo Fulgi.

Meet the Libner brothers: Marvin, the oldest, is a sergeant in the U.S. Air Force. Buddy, the middle child, is a timid dreamer. Bobby, the youngest, is a handsome rebel in reform school. As kids, they fought a lot and as adults, they barely speak. In the summer of 1963, their tough and eccentric father, Fred, gives them a task: to bring a 1954 Cadillac, bought for their mother, Betty, from Detroit to Miami. As the trip goes on, the three brothers fight and begin to reconnect with each other, while trying to keep the Caddy in mint condition.

Labarthe was very much in the orbit of the French New Wave—he appears as an actor in Godard’s My Life to Live—and his collaborator, Janine Bazin, was the widow of film theorist and Cahiers du cinéma co-founder André Bazin. Yet by 1964, five years after the explosion of the movement onto French and international screens, doubts about the true impact of the New Wave had emerged. Labarthe and Bazin assembled an intriguing round-table made up of Cinématheque Française director Henri Langlois, and filmmakers Alexandre Astruc, Pierre Kast and Agnès Varda to discuss the past, present and future of the movement.

Three older sisters play hide-and-seek in the forest. As the games continue, the linearity of time collapses and the past merges with the present. Everything that follows is an odyssey of personal memories and dreams. There is a bit of the pagan and a bit of the past that grows in strength as the sisters unite. 　　Finnish director Saarlotta Virri has proposed that this confident film is a hallucinatory exploration of time and the collective imagination through the use of the cinematic image. The film takes its title from Virginia Woolf’s novel To the Lighthouse, which centres on the Ramsay family who spend their summers in a cottage in Scotland. Virri, who is currently studying at Aalto University, has achieved this same sense of ‘life standing still’ by using a variety of narrative strategies and by conjuring up the contours of an incredibly magical forest. 　　源自：https://rigaiff.lv/en/films-2023/haosa-vidu-bija-forma/

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.

Three older sisters play hide-and-seek in the forest. As the games continue, the linearity of time collapses and the past merges with the present. Everything that follows is an odyssey of personal memories and dreams. There is a bit of the pagan and a bit of the past that grows in strength as the sisters unite. 　　Finnish director Saarlotta Virri has proposed that this confident film is a hallucinatory exploration of time and the collective imagination through the use of the cinematic image. The film takes its title from Virginia Woolf’s novel To the Lighthouse, which centres on the Ramsay family who spend their summers in a cottage in Scotland. Virri, who is currently studying at Aalto University, has achieved this same sense of ‘life standing still’ by using a variety of narrative strategies and by conjuring up the contours of an incredibly magical forest. 　　源自：https://rigaiff.lv/en/films-2023/haosa-vidu-bija-forma/

In Longueuil, a poet (Jean-Marc Desgent) stubbornly refuses to sell his house to a predatory, if not slightly unhinged, real estate developer (Pierre Curzi, THE DECLINE OF THE AMERICAN EMPIRE). But the fight isn’t new: In 1969, Longueuil absorbed the much larger, and poorer, city of Jacques-Cartier, where many people had constructed their homes with the materials available to them. Standing strong against the threat to his neighborhood, Desgent tells the stories of these women and men who built his city.

Bogotá, 1980. During the government of President Turbay. An urban cell of the M-19 invades the Embassy of the Dominican Republic, taking 14 ambassadors as hostages. They demand that they be exchanged for political prisoners. The film focuses on the events that took place during those two months of captivity.