In this short film directed in the style of Andrei Tarkovsky, eternity and the downfall of the Soviet empire are explored in a deeply symbolic and poetic way. The film follows a protagonist as they traverse a desolate landscape, reflecting on the transient nature of life and the inevitability of death. Through a series of dreamlike sequences, the audience is presented with a powerful meditation on the idea of eternity, and how it can be seen in the rise and fall of empires. The film culminates in a powerful scene of the protagonist standing atop a hill, looking out at the ruins of the Soviet empire, and contemplating the eternal cycle of life and death.

Fifty-eight minutes of mixed images from yesterday and today and about twenty voices of men and women, real Rimbaud lovers, known or unknown, disturbed by the reading of extracts of his poems or his letters, like a magic ceremony, bewitching, provoking the heart by the emotion of the senses, arousing the spirit, awakening the soul.

Par le biais de l'expérience d'un couple infertile ayant essayé en vain plusieurs options pour avoir un enfant, le film aborde le thème des nouvelles technologies de reproduction. Désespéré quant à leur condition, Marie et Pierre accepteront à regret de se livrer aux mains d'un scientifique dont les avancées dans le domaine de la fécondation in vitro se font en totale impunité, au péril de la vie des patientes. 'Portion d'éternité', (premier long métrage de fiction réalisé et scénarisé par Robert Favreau), est l'une des rares incursions du cinéma québécois dans l'univers de la science et de la technologie.

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在阿尔蒂尔·兰波（1854 - 1891）具有自传性质的诗歌中，主题围绕着断裂与改变，这些内容与1000张lomographic胶片影像相互碰撞。

A young man approaching his 20s can either work for his mother in her restaurant or carve his own path and join his friends in Montreal. Before making this decision, he encounters Sara and Léa, two enticing young women who may derail his plans of becoming the greatest chef in the world.

在18岁的时候生活和爱，沉浸在无忧无虑的夏夜中，突然失去最好的朋友，意识到没有什么是永恒的。为了重生，这是一个决定性的相遇时刻。

战后最早的组合式影片，可能是来自于法国的文字主义运动。希尔多•依苏的《论诽谤言语与永恒性》（Traite de bave et d'eternite）,Treatise on Slime and Eternity，又名《诽谤言语与永恒性》Venom and Eternity (1951)，运用随手取得的片段、刮损的影片、黑色银幕、闪烁画面组合而成。依苏在片中精力旺盛的旁白，也刻意地脱离同步。

The year-round residents in a lakeside campsite have to leave because of a sale.