菲利普三十岁，发现自己已经开始脱发。这位晚熟的音乐家，觉得脱发是一件非同小可的灾难。皮肤科医生告诉他，惟有他的父亲能告诉他，还剩下多长时间会秃顶：似乎每个家庭的男人，秃顶的年龄都一样。菲利普于是回到故乡，想知道父亲彻底秃顶的年龄——也就是他自己的。

菲利普三十岁，发现自己已经开始脱发。这位晚熟的音乐家，觉得脱发是一件非同小可的灾难。皮肤科医生告诉他，惟有他的父亲能告诉他，还剩下多长时间会秃顶：似乎每个家庭的男人，秃顶的年龄都一样。菲利普于是回到故乡，想知道父亲彻底秃顶的年龄——也就是他自己的。

一个九岁男孩痴迷于将头发拉直,从而引起了他辛苦打工的恐同症母亲对他的取向的怀疑。

Sang-hui从乡村来到了汉城谋求发展。为了生存她义无反顾地当上了夜总会的舞女。之后她在一家夜总会邂逅了同是舞女并比她有着更不幸经历的Yu-na。Yu-na长期受着其父亲的虐待。Sang-hui和Yu-na 成为了生死与共的好友。这时出现了一个年轻的男人，他与Yu-na真是天生的一对。但是在他的心中迟迟不能忘却自己以前的恋人。为了得到幸福，Sang-hui和Yu-na决定一路追杀并最后铲除情敌。

Sang-hui从乡村来到了汉城谋求发展。为了生存她义无反顾地当上了夜总会的舞女。之后她在一家夜总会邂逅了同是舞女并比她有着更不幸经历的Yu-na。Yu-na长期受着其父亲的虐待。Sang-hui和Yu-na 成为了生死与共的好友。这时出现了一个年轻的男人，他与Yu-na真是天生的一对。但是在他的心中迟迟不能忘却自己以前的恋人。为了得到幸福，Sang-hui和Yu-na决定一路追杀并最后铲除情敌。

天真可爱的卷毛头伊丽莎白·布莱尔（秀兰·邓波儿 Shirley Temple饰）是孤儿院里的开心果，只有院长觉得她是个捣蛋鬼，对她非常厌恶和讨厌。伊丽莎白的姐…

Based on an unrealised film script written in 1964 for The Homosexual Law Reform Society, a British organisation that campaigned for the decriminalisation of homosexual relations between men, 'The Colour of His Hair' merges drama and documentary into an impressionistic meditation on queer life before and after the partial legalisation of homosexuality in 1967.

A poet Lee Yonghan happens to see a street cat in his neighborhood and gets interested in the cats. Since cats are a territorial animal, he meets them on the street very often. He takes pictures of their daily lives, and keeps their record in the pictures. He also calls the cats ‘Blacat’, ‘Snomeow’ and so on. His record is published as a book titled ““Hello, thanks cats””. I, a TV commercial director bump into his book at local library, and become interested in street cats. In my neighborhood, there are lots of street cats. 　　I take pictures of their daily routines. I name the ones I am familiar with ‘Sleepuss’, ‘Beauttie’, ‘Naughty’, etc. I even feed them with water and catfood; I feel changed. 　　Lee Yonghan takes one of the street cats to his house as he moves to Yangpyeong. And he meets a new cat there. As I take pictures of them, I notice unexpectedly many villagers take care of street cats, and I interview them.

A poet Lee Yonghan happens to see a street cat in his neighborhood and gets interested in the cats. Since cats are a territorial animal, he meets them on the street very often. He takes pictures of their daily lives, and keeps their record in the pictures. He also calls the cats ‘Blacat’, ‘Snomeow’ and so on. His record is published as a book titled ““Hello, thanks cats””. I, a TV commercial director bump into his book at local library, and become interested in street cats. In my neighborhood, there are lots of street cats. 　　I take pictures of their daily routines. I name the ones I am familiar with ‘Sleepuss’, ‘Beauttie’, ‘Naughty’, etc. I even feed them with water and catfood; I feel changed. 　　Lee Yonghan takes one of the street cats to his house as he moves to Yangpyeong. And he meets a new cat there. As I take pictures of them, I notice unexpectedly many villagers take care of street cats, and I interview them.

An exhibition can also be a space for creation and production. The desire to be able to make a very short film inspired by the vision of feminine hair soon took root in some filmmakers' minds. As part of the logic of this exhibition, the Cinémathèque française wanted these films to come from countries and cultures which took a different stance on feminine hair. This game was therefore proposed to six filmmakers appreciated for their tone, their creative freedom and of course, their films. They all jumped enthusiastically at the idea. 　　Isild Le Besco (born in 1982), an actress since childhood, began producing in 2003. Having inspired the filmmaker Benoît Jacquot (she was awarded the best actress prize at the Venice Mostra for Intouchable [Untouchable]), she has frequently performed the lover's role, often passionate, always sensual and natural. For the exhibition she signs Bette Davis 　　Isild Le Besco - Bette Davis - 2010 　　. 　　Yousry Nasrallah (born in 1952) was first the assistant of Youssef Chahine. He produced his first feature film in 1988. In his films on Egyptian society, in particular with Femmes du Caire [Women of Cairo] he describes the relationships between men and women in a country where the rise of fundamentalism is transforming the position of both sexes. For the exhibition, he signs Objet trouvé sur un tournage [Object found during a shoot]. 　　Pablo Trapero (born in 1971) belongs to the Argentine "New Wave" movement. An independent and committed filmmaker, he has always worked with his wife Martina Gusman, a producer who for some years has acted in front of his camera. For the exhibition, he signs Rumor. 　　Nobuhiro Suwa (born in 1960) began his career in the cinema as assistant producer, then as documentarist for Japanese television. In 1997 he produced his first film which, like all the ones which followed, swung between fiction and documentary. For the exhibition, he signs Les Cheveux noirs [Black Hair]. 　　Abbas Kiarostami (born in 1940) takes an often contemplative and reflective look at Iran and his contemporaries. He observes the world of childhood, a woman's place in a country where the political and the religious rub shoulders, but above all he queries the cinema itself. For the exhibition, he signs No. 　　Abderrahmane Sissako (born in 1961) engages in a dialogue with the contemporary history of the African continent. Through his films, the Mauritanian filmmaker and producer subtly reveals hidden truths, in particular by imagining an improbable trial between civil society and the IMF in Bamako (2006), a veritable plea for a sovereign Africa. For the exhibition he signs Ni brune ni blonde [Neither Brunette nor Blonde].