L Eau à La Bouche

The history of the eau of Cologne goes back to almost four centuries, a history formed by extraordinary myths, family feuds and treacherous acts of commercial plagiarism. Its gradual use is a reflection of the evolution of society and its morality, in relation to body and hygiene, a gesture of intimacy. First perfume of kings, then the most popular fragrance, within reach of all the pockets.

Teo Hernandez films the water of the Seine and its reflections for a film at once material and luminous.

Catherine is taken to dine at "Eau de la vie" an opulent cafe known for its unusual entertainment. Her business associates Grant and Sarah intend to initiate her into their sordid society and strip her of her innocence. Catherine must choose from a small group of performers who will entertain the diners for the evening. She selects a young attractive man unaware that the finale of the evenings entertainment will end in his dead. To save the young man she has chosen, Catherine is driven to fight for her own life but oblivious to her struggle the other diners believe it is all part of the evening's entertainment Catherine has to stand alone. They say that evil triumphs when good people do nothing. Eau de la vie is a dark tale of hedonism and individual courage.

An outer suburb of Paris, 1972. Gilles and Christine, both sixteen, are classmates and lovers who have become frustrated with the aloofness of their families and the general monotony of their lives. When the pair are caught shoplifting, Christine's father ships her off to a home for emotionally disturbed children, temporarily putting space between her and Gilles. Luckily for them, though, she escapes and the couple contemplate running away together.

To heal their wounds, women from the same family reveal their connection with the sea.

The life of a family of boatmen flows gently along the water when a desperate man, wanting to throw himself off a bridge, lands on the pile of sand they were carrying. The film is preceded by a short film by the same author, "Someone", which recounts the memory of fifteen years of frequenting the same barber.

The summer of 2010, like many other years. I stay with my parents in Tsukishima on the banks of a river that joins Tokyo Bay. An uneventful ritual visit except that I decided to go and see and hear my brother for the first time since he locked himself up in the darkness of his room, too small for his size. Will I meet a drunken monster who only shouts grotesque words at his sisteras I had imagined him to be for so long?

A European official seeking to leave the Congo with his mistress in 1960 is stopped at a checkpoint.

The second entry in Velu Viswanadhan's series of experimental documentaries. This film traces the Ganges river upstream.

In 1958, while revolution is rumbling in Beirut, three sisters spend their holidays in an isolated village of Lebanese mountains: rebellious Nada, romantic Eva, and the eldest Layla, a good woman, beloved by everyone. But the war threatens and the sudden entrance of two French summer vacationers leads Layla to revolt against patriarchal society.

In 1970s Germany, Leopold, a 50-year-old businessman, picks up and seduces 20-year old Franz, who swiftly moves into his bachelor pad. Their cozy relationship soon sours as Leopold turns cranky and argumentative. When Franz's buxom blond girlfriend surfaces, and then Leopold's elegant and enigmatic ex, things get funnier, steamier and a lot more complicated.

Between parties and dips in the river, Lou abandons herself over the summer, navigating through her reconstituted community.

The human being is a sick animal; its natural impulses and drive for self-development have been imprisoned by reason and culture. Lou and Martin, two adolescents living on an island, attempt to escape the suffocation of overprotective parents. Will they succeed in building trust in the midst of forces that drive them apart?

“eau de cinema is an attempt to contain the uncontainable, to bottle the essence of poetic thought and accident, as a perfume of the creative act. It is also memory driven by an irrepressible mourning, the way scent is linked to both loss and longing. Like cinema, it is both material and immaterial, an apparatus and the experience of light and time. It is disappearance and the obsolescence, of not only technology and culture, but also hybrids and beautiful mutations coming alive. “ — BE

A young woman tries to go to Paris, but her garden and the whole village is flooded with water.