Le Ciel Sur La Tête

The crew of an aircraft carrier discovers that it is being pursued by a UFO that turns out to be a radioactive probe from outer space. They appeal to the warring countries of Earth to stop fighting and help it to repel the invaders.

After moving in with his beau, 30ish banker Jérémy decides to let the cat out of the bag, telling his unsuspecting parents, Guy and Rosine, that he's gay. Though they've always envisioned themselves as enlightened, the news staggers Guy and Rosine -- who are determined to get to the root of Jérémy's homosexuality.

Nothing gets by Simone, even though she's blind. An adorable, incredibly precocious ten-year-old girl, Simone sets herself the task of coping with (and sometimes manipulating) the many offbeat charact... read more ers that surround her- including her broken-hearted father, an aging anarchist beekeeper, a beloved and asthmatic quasi-mother-in-law, a priest in the midst of a crisis of faith, and a biker with a wandering heart, for whom she has unconditional love. And then, of course, there's the village in which she lives, where everyone knows your business and makes it their own. No wonder Simone feels that she lives her life like a reel of film jumping in the sprockets of a projector. Life is strange and complicated enough, and then an aviator falls from the sky, threatening everything Simone loves the most.

A ritual vase, the hampi, is placed in the center of the Musée de plein air de la République du Niger in Niamey, during a ritual ceremony featuring possession dances. With this film, Jean Rouch continues his ethnological and cinematographic study of Songhay ritual objects. He demonstrates that, in a particular context, the transfer of a hampi vase to a museum requires the organization of a ritual ceremony to obtain the gods' approval. At the time, however, reservations about filming a possession dance for the opening of a shrine in a museum made the move "questionable from a museological point of view".

“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

In this Sufi tale, Nadia, a young Moroccan emigre returns from Paris to Fez to visit her dying father. At his funeral, she is overcome by the voice of Karina chanting the Koran. A powerful friendship develops between the two women as they decide to turn the father's palace into a shelter for Muslim women.