Le Voyage En Am�

Paul Anselmini is a former mobster and businessman. A romantic character, a barbouze with no morals, no scruples, no values other than himself. Alone, yes, but free and once powerful. But this freedom is precisely what Commissaire Perdrix and Lieutenant Webb have come to take, two cops lost in a country and a time that are not their own.

Maodo returns to his home in Nouakchott after a long trip. He resumes his old job as a traveling merchant to support his family. One night, the young family man returns late, which deeply worries his wife and son, who wander around the city looking for his whereabouts.

The railway advertisement To Have A Good Trip Let’s Take The Train, had given me the idea of a speedy violent film with plenty of information, the intensity and speed of which cannot be perceived complacently by the spectator. All this gives an aggression to the film not unlike the actual transport system… the train was a pretext and I started to shoot as though I were using a gun-machine, trains and pseudo amusements becoming all mixed up.

Georges Méliès' adaptation of Jonathan Swift's "Gulliver's Travels" is most distinguished, today, for being a color film of the classic story. Color was rare in 1902 (and many years after) as non-tinted color has to be hand painted on the film; this was an arduous task. Also notable is the film's short running time of approximately five minutes. Much of the original work is not covered, but viewers were expected to be familiar with the story, and enjoy the filmed highlights. There are a couple of scenes missing; according to contemporary reports, Gulliver's shipwreck was certainly included. You can do a lot in a few minutes, as Mr. Méliès includes a re-make of his own "Une partie de cartes" (1896), which already looked like something previously covered by the Lumière Brothers.

Francis is a taxi driver and comic book artist who begins drawing a fantastical comic series about an intergalactic taxi driver in outer space, only to find that the stories he imagines for his comic strip start to materialize in real life.

Ghali is disabled and confined to a wheelchair. He studied in France where he also found love, Christine. On their return to Morocco, Ghali comes up against the difficulties of his handicap. In his situation, it is impossible to find a job, whilst Christine finds a job. Ghali decides to write his memories of childhood.

May 25, 1969, La Rochelle, Just 20 years old, Gerard and Jerome Poncet Janichon begin a world tour that will last 5 years. To accompany them throughout the 55,000 miles of sailing, “Damien”, a boat of 10 meters and dreams of new horizons.

In 1994, in Kigali, the capital of Rwanda, during the first days of the Tutsi genocide. Jacqueline, a young Tutsi nanny, returns home, in her village, desperately looking for her children. When she finds them lying lifeless among the corpses, Jacqueline takes refuge in the forest, where she gradually sinks into madness...

A trip to the seaside campsites, along the coast from Spain to the Camargue, like the other side of society, a cleverly mixed deck of cards. Each time the filmmaker pitches his tent, he gets to know his neighbors. And, as is often the case in these cases, they tell a stranger what they wouldn't tell their relatives. They talk about themselves, about what matters to them.

The Fantastic Journey was an American science fiction television series that was originally aired on NBC from February 3 through June 17, 1977.

Marius goes on a trip in a car that becomes a boat, and a submarine, and hatches an airplane from an egg.

A dream island is home to a family of small rodents, the Agoutis. Untouched by humans, the community of beings are organized harmoniously along the cycle of seasons. Gouti, the eldest of the siblings, is learning about life next to his experienced grandpa. But Gouti is absent-minded. He keeps dreaming of travels, of places beyond. When an exceptional winter storm hits and devastates their island, Gouti and his family are forced to leave. A journey leading to discover other worlds, other species, and above all to self-discovery.

While filming a portrait of Dutch filmmaker Jaap Pieters, he evoked memories of a Lebanese friend who had disappeared, and his desire to trace his footsteps / to track him down. This project matched our own desire to learn about the state of Lebanese cinema today. We offered Jaap Pieters to travel together to Lebanon to seek out filmmakers doing research on the moving image. We met Mahmoud Hojeij, Nadim Tabet, Ghassan Salhab, Nesrine Khodr and Lamia Joreige.