Un Conte D été Polonais

When their regal matriarch falls ill, the troubled Vuillard family come together for a hesitant Christmastime reunion. Among them is rebellious ne'er-do-well Henri and the uptight Elizabeth. Together under the same roof for the first time in many years, their intricate, long denied resentments and yearnings emerge again.

A knight's quest to rescue a woman in peril, but reality proves far crueler than fantasy.

Dawn is breaking, a man is reading a letter, a fishing boat comes in from the open sea. A woman searches for a face in a crowded street. A woman gathers clothes, a girl looks for a response. An empty chair. The soft murmur of the waves.

Master filmmaker Jean-Marie Straub continues his exploration of classic texts with this "collaboration" with the great 16th-century writer of the Essais.

The director's uncle is born in Poland in January 1944, in the stable where his parents were hiding. The baby is left on a window sill, while his father is shot for dead by Germans. After the war, the mother - and director's grandmother, a new emigrant in France, harshly negotiates the return oh her child. She marries the director's grandfather, who is told to be the natural father of the child. 46 years later, the grown child builds a cenotaph for his real father : an empty grave to commemorate his memory. This stone embodies the story of three generations of a polish-french family.

A documentary about Fellini's Il Bidone.

In Czechoslovakia, between 1946 and 1971, the characters of two very different fairy tales interacted and enriched each other: on the one hand, the filmmakers of the Czechoslovak New Wave who, through poetic, committed and ambitious cinema, fought against the Soviet yoke with subtle irony; and, on the other, the writer Jan Procházka, who in 1968 added his voice to the popular outcry of the Prague Spring.

Pascal Lamorisse is the son of filmmaker Albert Lamorisse. He is also the little hero of some of his father's films (White Mane, The Red Balloon and Stowaway in the Sky). Over the years, Albert Lamorisse, who took his son on all his shoots, sought to transmit his expertise and his passion for filmmaking, even on his last film, The Lover's Wind. There is something in the story of Pascal Lamorisse that touches on a fabulous story: it is the story of the transmission of cinema from father to child.

In a world populated by powerful gods and warring mortals, two enchanted beings meet in a peace-filled realm: They are Su Mo, a prince of sea gods, and Bai Ying, a princess and descendant of a mighty sword deity. They are immediately attracted to one another and begin on a romance, unaware that they are effectively crossing enemy lines and sparking animosity between two warring factions. Their actions anger other deities and Su Mo is eventually expelled from the realm. Overcome with grief, Bai Ying attempts to put her existence to an end by jumping from a magnificent pagoda.

When Margot flees her own wedding, she is left feeling adrift. Little does she know, it is David and his delightful chaos who can help her find her way.

A shy maths graduate takes a holiday in Dinard before starting his first job. He hopes his sort-of girlfriend will join him, but soon strikes up a friendship with another girl working in town. She in turn introduces him to a further young lady who fancies him. Thus the quiet young lad finds he is having to do some tricky juggling in territory new to him.

A burglar falls for an heiress as she dies in his arms. When he learns that he has the gift of reincarnation, he sets out to save her.

Three modern day pilgrims investigate a bizarre crime in a small town on the way to Canterbury.

Six-year-old Stefek challenges fate. He believes that setting a chain of events in motion will help him get closer to his father who left his mother. His sister helps him bribe fate with small sacrifices, but things go wrong and then Stefek tries a very risky trick.