Lettre à L

A short "working class road movie".

An artist is seen in his studio, apparently waiting his periodical remittance, which is long past due. After some thought, he decides to sell one of his pictures. He first goes to an art dealer's, only to find that his painting is not wanted, the man directing him instead to a junk dealer. He goes to this merchant, who tells him he may find a demand for his picture in a liquor saloon nearby. Meanwhile a letter-carrier with a special letter which must have the signature of the artist, has called at his quarters and has been directed by the Janitor to the art dealer's store. Panting and out of breath, he reaches the store, but here is sent on to the junk dealer's. Dashing in just as the artist has left, the junk man directs him to the saloon, but the same circumstances attend him there, and he follows the artist to the home of a lady where the artist had gone to dispose of his picture, but finds that he is too late and starts back to the home of the artist once more.

In post-revolution Tunisia, this captivating documentary offers a poetic exploration of a nation's journey from dictatorship to democracy, capturing its struggles, hopes, and resilient spirit.

Posthumous tribute paid by actor Luc Bernard to his older brother, director Guy Gilles ( 1938 - 1996 ). Documentary composed of interviews with some of his brother's friends and some actors from his main films, excerpts of which we see.

Camille writes a letter to her unborn child. Recently diagnosed with bipolar disorder, she does her best to prepare for life as a new mother.

One Saturday in spring, Simone, 17, receives a letter that will be a source of endless anguish. The strong ties with her sick father, André, although she loves him as much as he scares her, sometimes take up too much space in her life and prevent her from imagining a life elsewhere.

As a letter to her son, the filmmaker testifies her experience as a photographer aboard the Aquarius, a ship that rescued 29,523 people in the Mediterranean between 2016 and 2018.

Don Quichotte (Luchini) is a modern filmmaker with views on the perfect film. Sancho Pança (Risch) is systematically condradicting Quichotte, whose film materializes in front of them as he lists his ideas

How do we protect our connection with young people? This is the question the film tries to answer by addressing them directly through a voice-over. In a mosaic of fiction and animation sequences, film excerpts, "smartphone" shots and a considerable amount of archive material, the film restores entire sections of our History and our current events, by looking back at some of the major political and social achievements that young people often ignore. "Letter to the child you gave us" aims at inciting them to measure the importance of laws, the stake of democracy, and to push them to the commitment until fighting abstention.

This pair of titles features a dazzling concert by French jazz pianist Michel Petrucciani, followed by a documentary that captures the celebrated musician as he embarks on the tour that led him to international stardom. Concert Solo captures Petrucciani playing at France's Marciac Jazz Festival in 1996, performing tunes such as "Estate" and "Manhattan." Lettre a Michel Petrucciani then chronicles his landmark first trip to America.

"Babel / Letter to my Friends who Stayed in Belgium" narrates the day-to-day existence of a filmmaker wandering through his city (Brussels) and who has a notion to follow in the footsteps of dramatist Antonin Artaud and visit the Tarahumara people of Mexico. This is a film about intimacy and friendship. Written in the first person, it places Boris and Brussels in the center of the universe, here represented by the crazy, vertiginous, endless spiral of the biblical Tower. It is Boris's diary and self-portrait. He plays himself on screen (as do the cast of a hundred who also allowed themselves to be "Babelized")

Mailman Zazar has trouble delivering mail.

In the form of a posthumous letter to Storck, using clippings from the original 'Borinage' film, the director paints a personal picture about a corner of Western Europe, where shocking living conditions of those trapped within

A French adaptation of Tankred Dorst's play "Fernando Krapp hat mir diesen Brief geschrieben", staged by Bernard Murat.

Jean-Claude Rousseau's Jeune femme à sa fenêtre lisant une lettre is not only his first medium-length film, but a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe. With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. A minimalist and ascetic expression of cinema: a shot that lasts.»

Ruiz, rediscovering the things of his past in Chile ten years after the Coup, regards them now with the eyes of another world. This other world is cinema, the mechanical gaze of a Super 8 camera. This eye sees very deeply, even beyond reality and brute memory.