Mon Père D

Young single mother has two sons and a daughter by three different fathers who are completely unaware of having fathered them. Anne's mother conjures up a plot to make everyone involved to go on a beach holiday in Mexico at the same time so that her grandchildren could meet their fathers and their new families.

After being left for another man by his wife, Charles Bellanger raises his only son to fear and suspect women. Years later, such an education is bearing fruit.

Gina, 15, lives in a city on the edge of the forest. She admires her father, unpredictable and whimsical, able to take his children at night in the woods, even to forget them. Jimmy's more and more frequent skids end up alarming his wife Carole. Soon, the fragile family balance is broken when Jimmy is interned in a psychiatric hospital. When Gina meets Nico, a boy from her neighborhood, she awakens to love and sees a chance to escape her father.

Today I became a man like my father, I go to meet him to find out what has kept him abroad for so many years without sending us any news, without providing for his children, his wife, without coming home…

In November 2001, Quebec Painter Edmund Alleyn (1931-2004) agreed to be filmed in his Montreal studio by his daughter, filmmaker Jennifer Alleyn. There, something unexpected happened : an authentic encounter, with no beating around the bush, no mask. From a few existential questions –about life, painting, death- thruth emerged. The artist died of cancer in December 2004 before Jennifer could film him again. After inheriting his studio, she found herself in this sacred space, still imbued with the presence and imagination of her father. Her film is an attempt to prolong the dialogue, to find the missing fragments of her father’s life. Edmund Alleyn was an intense and complex man of integrity who left his mark on Canadian art history.

Novelist and filmmaker Jose Giovanni turned to the remarkable true story of how his father helped him escape a date with the guillotine for this drama, which is based closely on events from his own life. During World War II, Manu (Vincent Lecoeur, as a character Giovanni modeled after himself) fought with the French Resistance, but near the end of the war he fell into a life of crime, and in 1947, 22-year-old Manu was arrested for his part in a bungled robbery that left a man dead. While Manu did not pull the fatal trigger, he refuses to say who did, since it would mean implicating his uncle, one of the few members of his family who has stood by him; Manu's brother is dead, and he turned his back on his father Joe (Bruno Cremer) years ago. Manu is sentenced to death, and while he protests his innocence, his attempts to escape from prison do little to convince anyone that he's telling the truth.

After being abandoned by his wife, a man raises his son alone for twenty years.

A fun yet anxious Frenchman goes to visit his oldest friend and new wife for the holidays in Spain. After a while he realizes that his kind-hearted friend is married to a crazy annoying Spanish woman and so makes a plan with the gang to save their friend from this mean witch.

A middle-aged man, an architect by trade, decides to make an end run around getting married. He marries a charming young woman, tenderly in love, who proves incapable of holding him back and, above all, of making him work. But a young American arrives in Paris and reveals that he is the architect's natural son. At first reluctant, the latter and his young wife quickly adapt to the new situation, until the son, a businessman through and through, wants to share with his father his ideas on life, which can be summed up in one sentence: hard work, with no time for pleasure. The father is quick to balk, and the son is forced to unwillingly participate in the fickle architect's nightlife. Eventually, the father is able to settle down, while the son, having acquired a taste for love, has a good time.

Through the maze of a nightmare, a young man faces his father. His trauma springs from the darkness and he gradually exorcises his bitterness.

Roger, editor of a women's magazine, meets Roberte, his friend Jean's former mistress, at a major couturier's during a collection presentation. Roberte, who now lives in Florence with her niece Maria, asks Roger to arrange a student exchange so that Maria can come to Paris to perfect her French. Roger approaches Jean's son Philippe, a student at the Beaux-Arts, who agrees to go to Florence. Maria and Philippe meet on the platform at Pisé station. They miss their respective trains and take a walk together. A flirtation begins, then each goes back to the other. Jean finds Maria charming and, like an unrepentant Don Juan, decides to win her over, but thanks to his old maid, his intrigues come to nothing and Maria can marry Philippe.

Sauveur (Savior) needs someone to save him, and so he begins to look for his father, a fast- talking ladies' man. The son becomes attached to his misanthropic father, and soon a crippled woman photographer and a gigolo with a killer smile also enter the scene, and the situation becomes more and more impossible.

A documentary tragicomedy of a father-daughter relationship, told by the subjective perspective of the young director. She tries to understand how a revolutionary could have become a criminal and an alcoholic, and why he abandoned his family. Freely juggling between documentary, fiction and animation, the director takes us on a journey around the world. The daughter of a former communists visits the ports of the revolt, where communities are trying to realize the concrete utopia.