‎一名男子确信路西法在他里面，在撒旦的牺牲中残忍地谋杀了他的妻子和孩子。多年后，埃里克、海莉和他们的女儿佩妮在市场上未售出后搬进了同一栋房子。他们认为他们得到了一笔不错的交易，但他们不知道的是，几个世纪以来，埃尔姆湖上的房子一直是路西法仆人的家，它持有一个危险的邪恶等待释放。‎

The Morgans, a loving yet troubled family, go on vacation with intentions to reconnect with one another. However, when their autistic 10-year-old daughter begins to fixate on a mysterious friend who may or may not be real, and retreats further into her own world, family tensions start to rise to the surface.

In this whimsical and playful film, Bokanowski returns to the complex optical array of pinholes, mirrors, prisms, and refractive substrates of his earlier film, La Plage.

Ginger　　一个风景怡人的意大利边陲小镇，某天清晨，在山脚的湖畔人们发现了美丽少女安娜的尸体，她赤身裸体的躺在草丛中，却没有任何迹象表明她曾受过到性侵犯，也没有暴力抗争的痕迹。这件谜一样的悬案打破了这片世外桃源的宁静。从省城来的治安官Giovanni Sanzio（托尼·瑟维洛饰）被派来负责调查此案，但奇怪的是，调查越深入，案件本身却越发扑朔迷离。 犯罪嫌疑人最初锁定为镇上的傻子马里奥，接着怀疑转向了安娜闲散懒惰的男朋友罗伯特，最后安娜的父亲大卫（马可·贝里亚尼饰）也变得可疑起来，Sanzio在大卫的家中发现了很多家庭录像带，大卫拍下了女儿的生活画面，但镜头明显对她曼妙的身体和玲珑的曲线更为关注，而这显然有悖伦常。另外，安娜的邻居Canali似乎也有犯罪动机，他患有孤独症的儿子前不久刚死于一场诡异的意外事件。 随着治安官Giovanni Sanzio和当地警员Siboldi对案件的步步深挖，似乎有更多的谜团涌现出来，整个小镇都被牵扯进来，似乎每个人都有着不可告人的秘密。

Surrounded by sounds of animal life, both from the lake and the neighbouring forests, this film takes us through the seasons. Sounds of water, the wind and a human presence.

In a mountain village, Félix comes down from the pastures and finds his old mother lying dead on her bed. Shaken, he runs off. He drives a few miles down the valley to see a young man who has just contacted him on a dating app.

It is the discovery of a document recognising the services rendered by two fishermen from Lake Geneva during the Occupation that triggered the investigation undertaken by Swiss author Janine Massard in her novel Gens du lac, published in 2013. Jean-Marie Straub retraces the itinerary of the son, Paulus – just as he and Danièle Huillet had followed that of Jean Bricard just over ten years ago in the last film they made together. Gens du lac does not depart from the rule that sets each Straubfilm as an account of a historical situation in which men have resisted (Daney). Shot aboard a boat and hardly ever leaving the lake’s waters, the film depicts the life of this only son who has found brothers over the course of his fishing – be it his first steps in the trade, the help given to fugitives and deliveries of provisions to the Resistance, or his contribution to the emergence of a new Left in post-war Francophone Switzerland. Finding the seeds of a political act in this unconditional hospitality, Straub gradually dissipates the peaceful impression and conservative spirit of this “friendly, even emollient” landscape, and distinguishes between the silence “recommended during the hostilities” from the silence that subsequently enjoined people not to disturb the political order. While the people of the lake do not guard a frontier, they do, on the other hand, belong to a front. (Antoine Thirion)