Le Temp

A short film created (and narrated) in 1985 by Québécois director Pierre Falardeau. It compares English rule in Ghana with Canadian dominance in Quebec by showing the 200th anniversary celebration of the Beaver Club of Montreal.

The vagaries of love are often tragic, as Amelie ou le Temps d'Aimer seems to say. Directed by Michel Drach in his second try at a feature-length film, the well-wrought romance revolves around the love that develops between Amelie (Marie-Jose Nat) and her cousin Alain (Jean Sorel). Amelie is an orphan who lives with Alain and his family on an island off the coast of France. Alain has dreams of working as a seaman, while Amelie works for Alain's father. The budding romance between the two takes a nose-dive when Alain falls for a glamorous actress who shows up on the island one day. Not mature enough yet to make a wise choice, Alain's betrayal of Amelie turns out to be a grievous mistake.

A documentary investigation of the world of French agriculture today through various testimonials. A world that manages to resist the upheavals that it faces – economic, scientific, social – and which continues, for better or for worse, to maintain the link between generations.

Once his girlfriend says he can go and work for her father a student loses all motivation to go to law school, something his father is very keen on.

Rooted in Polynesia, in the heart of the South Pacific, this wandering movie crosses borders and centuries to explore time and its representations. This journey brings a constellation of stories where the science of today meets the myths of yesterday, where politics meets poetry, where dreams meet history. But it may well conclude, at the end of this meandering journey, that time no longer is what it seems to be.

An alien, with the ability to travel through time, visits our planet at various eras.

A time capsule of nostalgia for several teens.

Everything is ready. The purple chair beside the blossoming cherry tree. The camera. The framing. The light. It’s perfect. For Robert there is just one problem: Madeleine, his fiancée, who is sitting right in front of the camera with nothing but a t-shirt. And when he tries to convince her to dress up, an old lady arrives with some cherries from her garden.

Alan is 10 and he’s celebrating Christmas with his family

A poor peasant family, a failed cabinet maker and an unemployed worker struggle in contrast to crooked rich businessmen. nearby.A Communist meeting gives young workers hope for a better future.

In 1970, after their wedding in Buenos Aires, Ron and Jacqueline set off for the Andes, with backpacks and still cameras. While crossing Bolivia, on their way to Cuzco, they discovered the city of Potosi. 29 years later, they return to the same places, this time with their three daughters and a Super 16 camera. A road movie, which is both a depiction in real time of Potosi and the Andes and a journey of introspection for the filmmaker and his family. Potosi, at an altitude of 4,100 metres, was once one of the largest and richest cities in the world. But for the millions of indigenous people who were forced to work in the depths of the mountain, Potosi was the gateway to Hell. After its silver mines were exhausted, Potosi was abandoned, poor and forgotten. As in his previous film, Fragments - Jerusalem, Ron Havilio also uses personal material to draw a portrait of an Israeli family on the road, the generation gap, and a meditation on the passage of time.

Northern Morocco. Beginning of the 90s. With his Bac in hand, Rahil decides, against the advice of his family, to continue his studies at the University. There she discovers the growing influence of the Islamists. A handful of union activists are trying to resist. Said, a brilliant student, until then on the sidelines of the movement, decides to conquer it, to throw himself with all his might into the fight ... Fallen under the spell, is Rahil ready to commit in turn?

Construction workers denounce their working and living conditions in Montreal. In tune with its time, a political film that testifies Arthur Lamothe's militant cinematographic practice.

This documentary talks about UFOs in our society's issues. As a reflection from the sky, UFOs question our own mankind : transhumanism, genetics, nuclear research, astrophysics, ecology, conquest of space, psychology, information, arts and, of course, cinema. UFOs are objects of fascination, dreams, and are worrying us on this strange and thrilling film.

Iranian student Emad and a French girl Caroline have been living together for a few weeks in a borrowed flat in Besançon, where the girl has a job taking tourists round the Victor Hugo Museum. Both know that they have no future together, since Emad intends to return to Iran. The trouble starts when Caroline tells Emad that she is pregnant and he, somewhat thrown off balance, tries to persuade her to have an abortion. The girl isn’t against the idea, but she keeps deferring. Over the next few days, during which the couple constantly argue then patch things up, something comes to light which sets their relationship on quite a different course.

Luc Lagier puts Alain Resnais' film back in its historical context and in the filmmaker's biography. He tells the story, then the development of what was originally intended to be a short documentary film and which turned into an unusual allegory. Composed of fascinating archives, including notably the correspondence between Duras and Resnais, this analysis of 'Hiroshima mon amour' manages to put the film in perspective while detaching itself from it. A rare and captivating work.