Mémoire D

During Japan's feudal era, Mitsuhide Akechi worked to foil Nobunaga Oda's ambition for the unification of the entire country. To this end, Akechi had his eyes set on many of Oda's vassals, including leyasu Tokugawa. To protect Tokugawa's life, the kunoichi Kaede is sent to keep an eye on him as he travels through the mountains of Igo. Hiding in plain sight as a boxwood inn, she discovers that a skilled killer and his crew are already gathering in the area. Will a single lady ninja be able to complete her mission in the face of so many armed and dangerous men?

Using archive material and present-day accounts, the recalls the life of the Afro-Caribbean psychiatrist, Frantz Fanon. In 1953, at the age of twenty eigh, Fanon was appointed head doctor at the psychiatric hospital in Blida-Joinville, a few kilometres from Algiers. As amedical student in Paris, he had been appalled by the living conditions of the Algerian immigrants and gave over the rest of his brief life to analysing the alienation of the black man, of colonised people and man in general. The forcefulness of his writing - as in Black Skin, White Masks and The Wretched of the Earth - and the pertinence of his reasoning still resonate strongly into today's world.

A man is prostrate in front of his television, which projects the image of his wife when she possibly loved him.She is expecting his child but however accepts his homosexuality. The mental disorder of the husband leads him to rash acts. Time and space self-distruct around his discomfort. Self-produced with the Défi Jeunes competition and CROUS (grant).

The filmmaker Sarah Maldoror films the writer Édouard Glissant at the Fort de Joux (in the Jura), in the cell where the Haitian general Toussaint Louverture was held prisoner until his death in 1803. She then talks to Aimé Césaire at Le Diamant in Martinique, in front of Laurent Valère's "Cap 110" memorial. The documentary also includes short interviews with Roland Suvélor and Madeleine de Grandmaison, and the reading of texts performed by Greg Germain.

The life of the writer, journalist and painter Borvine Frankel, who crisscrossed Europe and the world.

A man murders his dying lover. He drowns him in a tub of water. We drift through the man's mind in the hours after the death. He falls more and more deeply into layers of memory. La mémoire de l'eau is a tale of fear, love and grief set in a world of uncertain boundaries.

The film consists almost entirely of an interview with the elderly He Fengming, recounting her experiences in post-1949 China.

In 1965, a year after the military coup in Brazil, an oasis of freedom opened in the country's capital. The Brasília Film Festival: a landmark of cultural and political resistance. Its story is that of Brazilian cinema itself.

1834 – La Mémoire de Masse unfolds during the second canuts revolts in Lyon in 1834. These riots now known as the ‘bloody week’ came as a reaction to the automation of work in the silk industry by the jacquard loom and its implementation of the punched card – first historical ‘mass storage’ system allowing the inscription and replication of complex weaving patterns. This inaugurating event in the history of workers emancipation movements of the 19th century is actually the first revolt against modern computation.

A wealth of archival images offers a glimpse into Québec City’s social history in this tribute to French Canada’s first classical college, the Seminary of Québec.

Marianne Lehmann, born in Switzerland in 1936, married a Haitian and moved to Port-au-Prince in 1957. Fascinated by voodoo cult objects, she began with buying them to avoid their scattering abroad. Over the years it became the largest collection in the world to be donated to Haiti. The film shows the beauty of these objects, their significance and importance to the world's cultural heritage and highlights the link between voodoo (Haitian vodou), the slave insurgency and the creation of the first black nation.

Rwanda For Memory (Rwanda pour mémoire) is a 2003 documentary film about the Rwandan Genocide. Facing up to the scars left by the genocide, Samba Felix N’Diaye manages to find just the right sense of distance to film the inexpressible while nevertheless communicating a message of hope.