Vie

Senka, a young exile in France, decides to return to her country. She takes a look at a country that, for a moment, was her land of welcome, her last doubts about her return, her last encounters.

On a Saturday evening in Paris, Juliette, Héloïse and Marianne each get their first separate experience of "Parisian life".

A repetitious experiment made with a found footage-sequence. The image, showing a group of schoolchildren mounting a stairway, is blurred and distorted by wire fencing. The ragged soundtrack, at first totally incomprehensible, gets clearer and clearer as the image gradually focuses. "The complex life shows itself bit by bit to him’’, a French voice reads out at the end.

Not too excited Arthur asks marriage Lola. What should have been a quiet ceremony evolves in something bigger, expensive and overwhelming as family is involved. The organization of the best day of their lives threatens to destroy them.

This 1991 production by the Lyon National Opera presents a welcome opportunity to revel in a uniquely Gallic confection rarely seen outside France. It's also a chance to enjoy one of Offenbach's most inventive, melodic scores in which the starring musical role and many of the best tunes go to the orchestra, here conducted by Jean-Yves Ossonce. This is no accident: the operetta was originally created for a company of actors who relied on pastiche and the composer's help to get them through their "numbers". Not so these singers, of course. As Metella, the languorous courtesan who is responsible for the unravelling debacle, Helene Delavault is in meltingly good voice for her show-stopping rondeau, "A minuit sonnant commence la fete". Her sparring suitors Gardefeu (Jean-Francois Sivadier) and, particularly, Bobinet (Jacques Verzier) combine marvellous visual comedy with fluid singing and there is some dazzling vocal work from the supporting cast. It's a long piece, but hugely enjoyable.

Lying on a spring soil of the Gran Paradiso massif, Boque, injured and exhausted, will die. It's the end of a busy life as an ibex, punctuated by tightrope walks along the vertiginous cliffs of the Italian Alps, dodging against lurking predators, and tough duels against his fellow creatures. From his birth, Boque will have survived many dangers hidden in the shadow of the massif: the golden eagle, the fox or the wolf, but also the snow squalls which cover the landscape with a white coat, making all food inaccessible. As he grew up, Boque asserted himself as an ibex respected by his congeners, until he became, like his father before him, the dominant of the herd.

A documentary directed by Claude Pinoteau.

In a shock after her mother’s sudden death, warehouse forklift driver Tina seeks out the rich, enigmatic businessman father she has never known and discovers a half-sister, Lise.

Backman showed in 'La vie en l'envers' the comic effect of backward movements - a nail jumping out of a piece of wood to leap towards the hammer, a sandwich getting bigger instead of smaller in the mouth, liquid leaving the glass to fill up the bottle.

A 8-chapter ("tableaux") short film that tells the story of a gambler who ends his life on the guillotine.

Paris, 1962. A scientist formulates a serum that transforms him into a dog. It's only when he changes back into a human that his troubles begin.

In this romantic comedy Thomas moves back in with his parents after his girlfriend throws him out. He runs into Florence, an old school friend, who invites him to dinner with her husband and two children.

Manu, Lucie, Philippe, Amandine and Martial work in farming and other rural trades. According to some, they're an anachronism – dreamers or eccentrics. However, the reason these market gardeners, foresters and cereal farmers use draught animals at work is their desire for quality of life. Their interconnected histories show that work with draught animals is both continuing and being reinvented in France, a country of otherwise highly mechanized agriculture.

She had been a director. He had been a film critic. Lockdowned in their flat, rue des chaufourniers, he begins to carry out household chores, which she would take charge of criticizing.

The film takes place in a Parisian suburb and brings us into the closest possible contact with the people who live here and takes us into the privacy of their lives. A series of personal accounts and shots of the decorated interiors of apartments and houses with no hint as to where we are, no names. No stigma attached, no label given. For these are not the subject of the film, which seeks instead to give a face and a voice – a sort of private landscape – to a space that has come to represent all that is standardized and anonymous.