La Nuit S

Historical film in four scenes which retrace the returns, the progress and the outcome of the war of liberation in Algeria. The first painting, “The land was thirsty” describes aspects of injustice and colonial oppression. The second “The Paths to the Prison” recounts the sufferings of the people engaged in combat. The last two are the stories of two lives.

An unconventional activist epic, filmed in Greece over several years among the many refugees and amidst some of the mass demonstrations that have rocked the country. The film is at once an essay, guerrilla journalism and poetic portrait. It tackles the socio-political upheavals of a country that stands alone in bringing down the western neoliberal model.

Early Calino short

August 15, Leila and Paul are separated on a motorway service area. Travelers without a destination, they stay there, in search of comfort and tenderness, trying to escape their loneliness by mingling with that of others, that of people who drive at night.

Using all the words he can find, a man tries to get a stranger to stay around—a stranger he approached on a street corner, one night when he was alone. He tells him about his world. A suburb where it rains, where everyone is a stranger, where no one works anymore; a nocturnal world that he is passing through, to flee, without looking back; he tells him about everything and about love, things one never talks about, except to a stranger like this one, a child perhaps, silent and motionless.

End of summer. This is the last night Cédric spends with Sofiane and his sick father. To ward off the morbidity taking over the house and create a lasting memory, Cédric suggests to go on a night excursion in the neighborhood... in underwear.

Some thousands of people are constantly connected via webcam, to share their thoughts, needs and desires live on cam2cam sites. In the immensity of the net human nature is unleashed.

Directed by Mustapha Derkaoui.

“The film you are about to see now will not be projected onto the sky, as Maurice Lemaître’s film, UN SOIR AU CINÉMA, was in part in the 1960s during a performance in the gardens of the American Center, Boulevard Raspail, because it is made of transparent film, from beginning to end. And the image is precisely the projection of all the dust, scratches and accidents of all kinds whose transparency is altered, like so many stars and galaxies of possible images.” –Maurice Lemaître

A courageous arborist Beth and her colleagues spend an exhausting night in the middle of the countryside trying at all costs to save their orchards from the destructive frost.

Travelers who have missed their correspondence are forced to spend the night in the waiting room of a small country station. They are told that a ghost train rushes through the night on each anniversary of an accident that once took place there. A detective tries to solve the case.

Her mother had advised her to marry to acquire respectability and material comfort, the obedient little girl married a successful Catholic writer a few years later, giving her two beautiful children, a spacious house, a few servants, and glittering social evenings. But in her thirties, Rose can no longer fall asleep at the side of her husband, who is imperturbably indifferent to her charms and neglects her, to develop, with more attentive ears, endless considerations on divine values in this world. So, in the evening, the young woman lets herself be drawn into pleasantly equivocal reveries. And if the day finds her repentant at the feet of her confessor, the night lurks again with its temptations and the virile torso of a handsome groom straight out of "Lady Chatterley's Lover", one of her clandestine reads.

What does the world look like to people who can no longer see? What is there in this endless night, in this profound darkness, that we all imagine?

Jackie Raynal plays director in a film in the process of being filmed. With great humor, she takes on the role of a filmmaker fighting to adapt a curious story: that of a 19th century countess who is raped by a bear. In periodic voiceover, she ironizes over the foibles of the nightmarish shoot - the fights with the actors, problems with the script and a failing budget - building a satire of the film-world and its vanity.