This film was shot between 2014 and 2019 in the town of Zhili, a district of Huzhou City in Zhejiang province, China. Zhili is home to over 18,000 privately-run workshops producing children's clothes, mostly for the domestic market, but some also for export. The workshops employ around 300,000 migrant workers, chiefly from the rural provinces of Yunnan, Guizhou, Anhui, Jiangxi, Henan and Jiangsu.
Short lo-fi film set in Senegal. Mostly focussing on a group of Senegalese youths, discussing their hopes and fears concerning the crossing of the atlantic to get to Europe. Will life be easier there or not?
In the summer of 1979, gay porn producer Anne sets out to film her most ambitious film yet, but her actors are picked off, one by one, by a mysterious killer.
Island of La Réunion, in the beginning of the 20th century. Five teenagers commit a savage crime. As punishment, a Dutch captain takes them to a supernatural island with luxuriant vegetation and bewitching powers.
Stranded along a sublime river fjord in northern Portugal, an ornithologist is subjected to a series of brutal and erotic Stations-of-the-Cross-style tests.
Wang Xilin, 86, is one of China's most important modern classical composers. During the Cultural Revolution he was the target of severe persecution, enduring beatings, imprisonment and torture. With excerpts from his Symphonies, he revisits for this film some of the horrifying events that still live on in his memory as testimony to an era that saw the dehumanization of the entire Chinese nation.
André Demester secretly and painfully loves Barbe, his childhood friend, accepting from her the little that she gives him. He leaves home to be a soldier in a war in a far off land. Barbarity, camaraderie and fear turn him into a warrior. As the seasons go by, Barbe, alone and wasting away, waits for the soldiers to return. Will Demester’s boundless love for Barbe save him?
João Pedro Rodrigues answers the question from the title with an autobiographical short-film.
IVUL is the extraordinary story of Alex (Jacob Auzanneau), a young man who climbs on to the roof of his house and refuses to ever come back down to earth. His actions devastate his beloved family and we watch as their world falls apart. A dark and mysterious gardener (Tchili from This Filthy Earth) keeps watch over the family but is powerless to exorcise the curse that he feels has befallen them. Meanwhile the twin sisters (Manon and Capucine) provide light but sometimes macabre relief. The world of IVUL is a world of both fairytale and nightmare with the family manor house and forest landscape providing a compelling backdrop to the story.
A popular sensation in medieval Europe, bestiaries were catalogs of beasts featuring exotic animal illustrations, zoological wisdom, and ancient legends. The documentary unfolds like a filmic picture book where both humans and animals are on display. As we observe them, they also observe us and one another, invoking the Hindu idea of “darshan”: a mutual beholding that initiates a shift in consciousness.
A Guest + A Host = A Ghost is as free as it is associative.
A home-guard serviceman assigned the task of standing watch over a barren no-man's-land begins to experience an existential crisis after years of lonely service.
Jean lives as a hermit in a forest. From his cabin, he listens to and records the sounds of the animals that inhabit the surrounding area. One night, he hears the cry of an unknown animal. Along with Mana, a young girl who sings with the birds, he goes in search of the mysterious creature.
A man washes up on a beach. He saves a foreign woman and together they flee into nature. There they discover that the beauty of the environment only distracts from the growing threat. Behind the serene greenery hides death and destruction. Where did they end up? The present and past of the country merge imperceptibly into one another. This is a battle of all times, with the landscape as a silent witness.
It is during a night in a post-reconstruction world that a masked call rings out. Cheikh Morad Djadja wanders through these non-places in search of an anonymous telecommunication space. This universe with its illusory and oppressive walls, makes us notice the existence of an abstract space-time in which a trans-identity tries to find a place. #31# (appel masqué) is a proposal halfway between documentary, fiction and installation, exploring the hidden meaning of a coded message, this one coming from a literary/musical genre, the raï.
The piece, an experiment that begins on the skin, in the skins of a family that spoke in silence about a tropical dictatorship in the 1980s, the dictatorship of a house. The skins whispered silently and their voices were heard in the corners, on the walls, in the cooking pot, on the soupspoon, on the wet beans. As the soldiers marched in the streets, the echo of their footsteps resonated in the walls of the home of a military man’s family, a house where the words were forgotten. With few oral resources, some photographs and some stolen confessions, the director proposes an exploration that goes from the personal to the political through a fictionalized experience of the family story related to the dictatorship of Panama.
""I collect. I document. I write down my memories. I’m afraid they’ll disappear." This is how Victoria Verseau introduces her intimate documentary diary, in which she returns to Thailand and to the year 2012, when she underwent her transition. She had long awaited this moment, but then came feelings of uncertainty, amplified by the death of a close friend. The conceptual artist adopts an almost archaeological approach to the past and lays bare the process of writing a personal story that is intrinsically linked to the creation of her own identity. In this deeply felt debut she reveals the joyful aspects and also the dark recesses of transition and, bringing other testimonies into play as well, she critically examines what defines women as women."
At the end of June in Paris: Mireille accompanies his friend Thomas, a solitary and restless being, during a walk to Père Lachaise. Thomas is very agitated, worried. He confides to Mireille that he wishes to be cremated in the event of death. In September: after a period of holidays, Mireille returns at her home. She and his friends do not any more manage to contact Thomas. After investigation, Mireille learns that Thomas died in August, only. As he has no family his body was interred in the square of the needy of the new cemetery of Thiais. Mireille wants to honor the last wills of his friend, but the law is strict: to dig up the body and cremate it, the services of the city hall have to have the signature of a member of Thomas's family. Mireille learns that Thomas had a younger brother, Melchior. But But the young man, marginalized, abandoned for years by his older brother, refuses to sign the licence to dig up.
The world is alive, but maybe without mirrors and images, none of it would exist. The blind create images in a different way – with sounds, textures and experiences. When you enter the rabbit hole, imagination plays the main part.
The mood is heated. Demonstrations are taking place across France, also in front of the Paris hotel where an Italian named Giorgio is booking the bridal suite for him and his boyfriend Antonio. Hotel manager Diana doesn’t trust them and calls the police to get rid of the odd couple. Italians? Homosexuals? Criminals? In the charged atmosphere of the Hotel Occidental, little is needed for initial suspicions to be aroused.
