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A little boy, accompanied by a chickadee, explores a great mystery: the world’s friendship.
How did America get the Name we Use Today, ... Amerigo Vespucci, ... The name on the Map he had made for the New World, ... An Avid Explorer and Merchant who made a name for himself via an Oops.
This bright domestic drama captures a moment in time when, for a large number of idealistic and grateful French men and women, the promise of Russian communism was bright, and everything Russian was a source of joy and amazement. In the story, Irene was rescued from Auschwitz by soldiers from the U.S.S.R., and since that time she has enthusiatically considered Russia to be the source of hope in the world. Her more pragmatic husband has, by 1958, grown somewhat weary of her enthusiasm, which has led her to decorate their apartment with anything Russian she can get her hands on. Matters come to a head when she is befriended by three members of the Red Army Choir during their tour of Paris.
A documentary that shows the different fauna that populates natural habitats of France, and the people that aims to protect and preserve them.
The phenomenon took everyone by surprise. In the span of three years, despite the mixed reception from the press upon its release in 2011, the Tuche family, a group of eccentric unemployed individuals, found a place in the hearts of the audience. With over eight million viewers during the television broadcast of the first installment and 4.6 million box office admissions for the second part, it became the biggest French success of 2016. The Tuche family has become a phenomenon. Word of mouth gave the film a second life beyond theaters, turning this tribe into the most popular family in French cinema.
This film, which was to be directed by Pascal-Angot, is characteristic of the communication war in these times of violent military conflicts. It presents a panorama of the benefits of the singular Portuguese presence, which harmoniously rubs shoulders with peoples and cultures: Macao, its cathedral, junks and casinos; the dances of the Timorese; Cape Verde and its morna; the Tchiloli Theatre of São Tomé; the riches of Angola and the development of Mozambique. And several sequences expose at length the Portuguese military power, especially in Guinea-Bissau and Angola – while a part of these countries is actually under control of the separatists. The film is punctuated by the words of Prime Minister Marcelo Caetano, who replaced Salazar in 1968: “These terrorist movements did not appear spontaneously, they originate in a neighbouring territory, and they would have disappeared if the help of the neighbouring powers had stopped. The people of our territories are fighting them.”
Pahe is African and Sebastian is European. But when it comes to great adventures, it doesn't matter in the least. Their two cultures are united and enriched by a sincere friendship, which is not intimidated even in the most difficult situations.
Thibault, Isabelle and their son Jeremie board their sailboat Joshua to sail the world and live a new life. The Gulf of Aden is watched over by Somali pirates, and while stopping in Djibouti, the happy family meets Mike, a black they know nothing about but innately trust. Inviting Mike to board the ship, the quartet travels onward in their sailboat…
By his own admission, Damien Faure possesses an impressive quantity of images and films, sometimes exploited in other ways, sometimes simply left unused, and forgotten on film that was gathering dust. These archives have patiently waited to be brought back to life in this documentary, in which this travel-loving director presents an anthology of sequences shot in the four corners of the planet, from Japan to the Arctic, via India. Through the discovery of these stories collected here and there and then meticulously assembled, he wishes to offer a different vision of the contemporary world.
Fifteen sketches talking, without taboo, about a burning society matter : war, health crises, extremism, being woke... A cocktail recalling the great italian comedies, a joyjful irony, an unbriled burlesque with a lot of emotions.
Rolando Colla made his directorial debut with this Swiss-French-Italian period drama about a Breton woman who disguises herself as a man to join a ship's crew during the 18th century. Rebellious 24-year-old Anne Bruneau is abandoned at the altar by her fiancé Yann. Unaware that Yann was drunk and fell down a well, Anne reacts to his absence by cutting her hair, dressing like a man, and signing on with a ship captained by a dwarf. When Yann learns what happened, he begins running south to Marseilles to rejoin her. Aboard the ship, Anne's disguise is discovered by the captain and the ship's doctor. With an Arab, she jumps ship, hiding with hookers in Marseilles while still maintaining her disguise.
Aesthetic attempt in which intertwining forms, colours and dimensions are moving in such a rhythm that all landmarks are lost : are we in the world or is the world inside us? This film is a fleeting self-portrait, a projection of identity, of the human being and of his body in unexplored worlds such as space or the seabed.
