Le

A profile of one of Scotland's favourite and most enduring broadcasters.

For years, Alain and Madeleine, in their fifties, have consecrated all of their time to their small bistro. Devoted to serving their clientele, they are liked by everyone. The arrival of a new customers, a young worker passing through named Jacques, turns their lives upside down...

The signs of life and death intertwine within a cinematographic writing that is invented. The expression says: 'mourn'. This film tells us that it is mourning that makes us first. Martin Verdet's film, Donner le jour crosses this time which, from the death of his mother to the birth of his son, tangles day after day the material of mourning to the material of life. This film is a rare film, rare by the emotion it provokes, the quality of this emotion which is always nourished by a formal elaboration, a work on the form whose beauty immediately seizes us as an enigma and as a revelation.

Two paths cross on a descent into Guatemala's past: that of Mateo Pablo, a Maya survivor of one of many massacres committed by local government troops, and Daniel Hernández-Salazar, a concerned Guatemalan artist and photographer. Together they travel to a remote site in the highlands where the community of Petanac once stood. The bones found there by archaeologists tell a mute story of agony.

After CLEVELAND VS. WALLSTREET, the director dived into the universe of the Opéra national de Paris to film his documentary about this major centre for musical creation. During this shoot, he met Philippe Jordan, musical director of the Opéra national de Paris. “Filming Philippe Jordan is like a waking dream. He occupies the frame, he bursts from the frame, he is simultaneously totally present in the music, and elsewhere, connected to some invisible forces,” says the filmmaker about the conductor, whom he was able to film close up during rehearsals for Gustav Mahler’s Ninth Symphony. This invisible aspect is what the camera explores in this short film: by focusing on this piece in particular, entirely given over to listening and immerged in the very heart of creation, Jean-Stéphane Bron reveals a fragment of work that we imagine to be titanic, and allows us to see and to hear, in a whole new way, a work whose interpretation is profoundly marked by silence.

The waking dream of a fat man who, through the magic powers of animated cinema, transforms himself, taking the form of the different things he tries to interpret.

A military wife remarries after she thinks her Russian husband has died in battle, and when he returns alive he enlists in the Foreign Legion rather than disrupt her new happiness.

Antoine, elevator operator of a haute couture house, takes advantage of an inheritance to lead the high life for three days by pretending to be a rich count.

Despite her success, writer Francine Margerie is let down to see that she is not nominated for the Legion of Honor award. One solution could be to sleep with Champmorel, the Director of Fine Arts and one of the judges for the awarding of the coveted medal.

When the war is over, a captain finds it very difficult to reintegrate into civilian life. Nothing happens, neither in journalism nor in insurance.

An Hungarian young man hides his real identity as baron Barinkay until he returns to his birthplace and claims the family properties, now occupied by a clumsy pig dealer who has a beautiful daughter. The gypsy girl is not bad looking either, and the gypsies are willing to help him recover his home and fortune. French version of Der Zigeunerbaron based on the Strauss operetta, filmed at the same time with a different cast except for Wohlbrück.

A young dromedary attends its first conference. Its happiness is going to turn into deep disappointment.

The story recounts the murder of an itinerant Jew (Jules Maurice)by the village Burgomaster (Harry Baur.) Years go by and Baur's crime does not weigh heavily on his conscience. But at a banquet one night, the subject of the killing comes up and he faints, and is haunted from that point onward by the vision of the man he killed and the sound of the sleigh bells that first accompanied the victim's arrival in the village. And, to complicate matters for Baur, the son of the victim arrives, and proceeds to fall in love with Baur's daughter.

A young man shows off his fantasy : an erotic and childish metaphor of paternal milk.

Professor Taranne, a conceited university Professor, is subject to several absurd and disquieting incidents from the world surrounding him. He is being accused of things he couldn't have been doing. He starts doubting himself - a self that might be fragmented or multiple.