Complet Le Mo, Streaming avec sous-titres en Français, le mo || Regardez tout le film sans limitation, diffusez en streaming en qualité.
Switzerland is presently the only country in the world where suicide assistance is legal. Exit: The Right to Die profiles that nation's EXIT organization, which for over twenty years has provided volunteers who counsel and accompany the terminally-ill and severely handicapped towards a death of their choice.
In a city from Eastern, Micha struggling with his demons, undertakes a last trip guided by ghosts trapped in a book.
One morning Martin Sauvier ten years, said Marty opens the door of the room Berrant Antoine, Permanent resident service geriatrics. This septuagenarian paralyzed and mute most of his time going to search for Alzheimer's is definitely appropriate password. Retaining all its lucidity, he shares his emotions and his thoughts through a voice that we are alone has heard. This meeting will be born an unusual friendship.
Outside a Parisian café, a writer discovers an unexpected power.
A family drama. A deceased mother and a father with a new wife. Three sisters; the middle one has lost her lover by whom she is pregnant. During a family dinner an old secret emerges. A search for identity and primarily a story about human relationships.
In the first half of the 1990s, Drissa Touré was an auteur fast on the rise, with his first fiction feature, Laada (1991), celebrating its world premiere in a Cannes sidebar, from whence it went around the world, Rotterdam included. Touré's next narrative project, Haramuya (1995), was again welcomed warmly and seen widely. But what happened then? How could an obviously gifted filmmaker from one of world cinema's true hubs, Burkina Faso, not find the means to continue? How did Touré end up riding a motorcycle, doing deliveries and errands? The fact that only a few years after Haramuya's release, Atria, the organisation where Touré deepened his technical knowledge of filmmaking, was closed down as the last francs of support were cancelled suggests that Touré's story is also a symptom of something more structural and grim.
A collection of newly restored short films from the imagination of Paul Grimault, an icon of French animation. Le Marchand de notes (The Note Seller), 1942, 10 min L’Épouvantail (The Scarecrow), 1946, 10 min Les Passagers de la Grande Ourse, (The Passengers of the Ursa Major), 1943, 9 min Le Voleur de paratonnerres (The LIghtning Rod Thief), 1946, 10 min La Flûte magique (The Magic Flute), 1946, 9 min Le Petit Soldat (The Little Soldier), 1948, 11 min Le Diamant (The Diamond), 1970, 9 min Le Chien mélomane (The Dog Who Loved Music), 1973, 11 min
"I found that soundtrack abandonned on a shelf in an editing room. It had been hanging about there for a few weeks before I decided to listen to it. There you are, carefully cellotaped in the correct order of the editing rushes, claps, cuts and wrong frames of a film I don’t know anything about. That soudtrack immediatly appealed to me. Its discontinuary and fragmentary aspect, nevertheles made sense, was a sort of transcription in the world of sounds of what had been so for visual in my other films. Moreover, its contents made of sentences or scenes only just introduced or repeated, of questions about identity and the body, the coming in and out of the characters, scenes of seduction and violence, all that mixture permanently interrupted by the unknown director that give his orders : "Ready ! Motor ! Action !" in short, all this gave the film a mysterious and imaginary atmosphere." Christian Lebrat (Dedicated to Marcel Duchamp)
