Je Me Souviens D Anne Frank

A grieving son desperately attempts to reverse his mothers rapidly progressing Alzheimer’s.

A woman seeks revenge over false accusations of murder.

One of my earliest memories is the view of the mountain opposite, where my mother was born in during the war while the family was in hiding. She's buried down in the valley. I can't see it, but I'm very aware of it. I observe how this view changes with the hours of the day...

Ian “The Machine” Freeman is a boxer. At every one of his fights, between blows, his mind drifts away to his youthful days, to the origins of his passion and violence.

January 2011 : the revolution bursts in Tunisia, my father’s country. The Tunisian people scream in a rage and I, here in Paris, can feel their revolt vibrating in my heart.

With its fluid arrangement of black and white scenes paired with an immersive soundscape, Je me souviens d’un temps où personne ne joggait dans ce quartier is a celebration of the many faces of Park Extension. The film provides a glimpse inside a festive cultural gathering; the workshop of a meticulous artisan; and an alley where a young cyclist is learning to ride. With her restrained approach, the filmmaker hints little by little at a seemingly inevitable transformation, while the relentless onset of gentrification threatens the social fabric of a neighbourhood. After a critically acclaimed detour into audio documentary, Jenny Cartwright returns to the evocative force of images to evoke a rich and diverse community.

Filmed in Netherlands and London this special commemorates 70 years since Anne Frank's death. With unique interviews with Anne's step sister, Eva Schloss and Gillian Walnes, a survivor from Auschwitz who now runs the Anne Frank Trust in the UK and Ronald Leopold, the Director of the Anne Frank House in Amsterdam. In 1933, the Nazis rose to power. Five years later, in 1938, Eva Schloss remembers the Nazis marching on Austria and then she and her family fleeing and settling in Amsterdam the same year. They found they were in the same residential square as the Franks with their young daughter, Anne. Anne and Eva found a bond from the shared experience of being displaced by the Nazis.

In 1996, Marcello Mastroianni talks about life as an actor. It's an anecdotal and philosophical memoir, moving from topic to topic, fully conscious of a man "of a certain age" looking back. He tells stories about Fellini and De Sica's direction, of using irony in performances, of constantly working (an actor tries to find himself in characters). He's diffident about prizes, celebrates Rome and Paris, salutes Naples and its people. He answers the question, why make bad films; recalls his father and grandfather, carpenters, his mother, deaf in her old age, and his brother, a film editor; he's modest about his looks. In repose, time's swift passage holds Mastroianni inward gaze.