Peau D

Some 40 years after setting foot in Israel for the first time, journalist Pierre Nadeau felt the desire to return there to take stock of the Israeli-Palestinian conflict.

Skin and Bones gently introduce us to the world of anorexia and bulimia. The heroines of this moving film in which reality and fiction merge are called Annie, Andréanne, Hélène, Eisha. They have in common their youth and charm - as well as a terrible tendency to self-destruct.

Open and shut case: Maxime Dartois, the painter, is found dead in his penthouse with three bullets in his body, but the pistol that killed him is still being held by the (fainted) young lady by his side. A detective will find a few odd notes, and the plot thickens when plenty of people are interviewed, and more than one could have the will, and the opportunity, to be the killer, and it is not clear what the relationship of the girl was with the deceased.

Blue Skin by Garance Rigoni and Manon Tagand follows a thread of feeling between image and void. This film was created using archival footage from the Cinematheque de Bretagne and Ciclic Centre-Val de Loire collections. These amateur images were projected onto body fragments molded in plaster, then filmed in Super 8. The plaster strips become the projection surface and traces of memories, in a game of reconstituting the body and its marks.

Almost twenty years after the release of "La peau et les os", filmmaker and actress Hélène Bélanger-Martin interviews women who have overcome anorexia and bulimia.

While the business is doing very well for the Denom family, all decide to leave as every year for a weekend in their country house. But that was without counting on the unexpected arrival of their brother-in-law Samuel, whom they had not heard from since the tragic death of his wife last year. And although the latter is in a wheelchair, unable to move anything but a hand, there are too many blame, secrets, money and mistakes that go in a very strange way, gradually resurface.

Ibiza. Bodies on the sand, a warm wind, an eternal sunshine, the chatter of crickets. A child’s eye, a women’s voice. She’s calling her mom, recalling: « Maud, four years old, eczema on the face, knees, arms… »

An uninspiring character decides to visit his uninspired author.

A short animation film about knights.

A portrait of Guilda, the timeless beauty from the golden age of Montreal cabaret culture.

In a sequence shot, the slightly slowed movement of hands manipulating and caressing the surface, whose texture is like skin criss-crossed with scars, a wax sculpture that is vaguely anthropomorphic. The sound is the voice of Mathieu Amalric, giving a raw account of three nights of sex that Simon shares with Robert and Nessim, their African lover. With this ball of black matter, a dark satellite seemingly detached from its feature film, Pierre Creton reveals the night-time, and painful, reverse shot of Bel été’s gentle community Utopia. (C.N.)