La Vie Sans Brahim

Catherine lives in idleness in her father’s villa. A night, he brings back home a young woman who becomes more and more influential. Catherine will try to get rid of the latter so that she can get back her privileges.

Pierre and Marion, a couple of Parisien teachers, have a life regulated. When they meet Marion's childhood love, Remi, their life is lighten to a new day.

The Kotedba dance company from the impoverished Treichville section of Abidjan wins an invitation to Paris to perform at the Beaubourg Center in an international competition. The group tries desperately to raise money for the trip, but the lead dancer is held hostage by her wealthy family who objects to her participation in the troupe. The film shows the lively street life of Abidjan and the hopeful anticipation of the dance group to make their dream of a lifetime come true.

Monique and Gysèle have been a couple for 37 years, Maryse and Michèle met in the 1970s, and Alain and Jean-Marc are early activists. All over 70 years old, they experienced their first love in a reactionary France where homosexuality was still considered a crime. They had to fight against society and their families to accept themselves. Today, they wonder about their relationship, their old age and how to combine it with their homosexuality.

It is a mild winter and Martin has just settled into the isolated house that was his father's. One night, at the edge of the woods, a strange man called Haruki appears before him. He invites Martin to lose himself in the forest in order to encounter a stranger. The stranger comes in the form of Yoshido, a peculiar Japanese filmmaker, who, assisted by Mathilde, is preparing to shoot a film based on Haruki's unfinished novel La Vie lointaine.

The story of a meeting that should never have happened, between a domestic employee and a homosexual photographer twenty years younger than her. Their story, in an empty town in the center of France, lasts a whole Summer, a few years before year 2000. Every night, they pace up and down the streets of this town.

After studying literature Denis Gheerbrant joined the famous film school IDHEC (now FEMIS) in 1969. When he left the school he had obtained two degrees, one in direction and the other in cinematography. From 1972 on he has had several activities in the movie field: assistant camera operator, cinematographer,and mostly director of (excellent) documentaries. Gheerbrant is also an independent photographer.

Benedicta is a survivor of human trafficking from Nigeria, Mohamed left Guinea at the age of sixteen in the hope of a less precarious life, and Martha and Anibal fled political repression in Honduras. Fate led them to a small French town and the surrounding countryside, where they are now pursuing the same goal: to find their place in local society. The film tells the story of their daily lives, filled with obstacles and uncertainty, hope and disillusionment, solidarity and small victories.

The story is inspired by the biblical myth of Lazarus. The main character is called Lazarus who was a follower of Jesus, brother of Martha and Mary who was resurrected by Jesus.

An issue of the television series La vie filmée, based on films by amateur filmmakers, and retracing here the life of the French between 1946 and 1953. The images shot in the immediate post-war period bear witness to the difficulties of resuming life daily. Confronting individuals with their personal archives nearly thirty years later, the film nostalgically questions the gap created between intimate memory and empirical memory (documents).

The story of a team of Dragonladies, nine women age 27 to 77, from various backgrounds, who only have one thing in common: they've survived breast cancer. Their goal: take part in the Voga Longa regatta in Venice. Under the leadership of their coach, they've got to put aside their differences and their fears, to learn to row - or rather, paddle - together.

Senka, a young exile in France, decides to return to her country. She takes a look at a country that, for a moment, was her land of welcome, her last doubts about her return, her last encounters.

On a Saturday evening in Paris, Juliette, Héloïse and Marianne each get their first separate experience of "Parisian life".

A repetitious experiment made with a found footage-sequence. The image, showing a group of schoolchildren mounting a stairway, is blurred and distorted by wire fencing. The ragged soundtrack, at first totally incomprehensible, gets clearer and clearer as the image gradually focuses. "The complex life shows itself bit by bit to him’’, a French voice reads out at the end.