Renato Berta

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Au revoir les enfants tells a heartbreaking story of friendship and devastating loss concerning two boys living in Nazi-occupied France. At a provincial Catholic boarding school, the precocious youths enjoy true camaraderie—until a secret is revealed. Based on events from writer-director Malle’s own childhood, the film is a subtle, precisely observed tale of courage, cowardice, and tragic awakening.

15-year-old Max is in search of his father, the famous troubadour Johnny Bigoude, who disappeared shortly after Max's birth. He reaches Saint-Hilare where Madam Doudou, the old teacher, takes care of him and finds him a job as elevator musician in the fly swatter factory Bzzz & Co. But the factory doesn't run well and half of the village gets fired. To boost the swatter sales, a dangerous scientist creates a mass production of flies. Soon, a thick cloud of insects attacks the village... With courage and determination, Max and his new friend Félicie will do their best to neutralize the insane projects of Bzzz&Co. Will they manage to convince the villagers to help them in this adventure? All together will they stop the scientist's crazy handlings? And will Max find his father?

Lovers Beatrice Dalle and Wadeck Stanczak can't quite cope with the situation when Dalle becomes pregnant. Stanczak fears that his future as an architect will be scuttled by any parental responsibilities. For her part, Dalle wants to keep the baby, but she also wants to keep Stanczak. Attempting to smooth the waters is the couple's mutual friend Francis Frappat. Chimere was the second feature-film project for director Claire Devers, who rose to prominence on the strength of her award-winning maiden effort Black and White.

In autumn 1943, in Gross-Partsch, 26-year-old Rosa, who had come from Berlin to stay with the parents of her husband Gregor, who was fighting on the Russian front, was taken by the SS to a mysterious place. Forced to taste a dish, she joins the group of tasters responsible for checking that the food destined for Hitler is not poisoned.

An oddball family on a Kansas farm are trapped in their farmhouse by an impending storm. The patriarch of the clan is a retired soda pop tycoon. He is currently dating a children's TV evangelist. Also living at the farm is his layabout daughter and her precocious 8 year old daughter, his would-be artist son, the son's fiancée, and the black maid. Also thrown into the mix is the daughter's ex-husband, a ne-er-do-well who is seeking to get back in his ex-wife's good graces.

Having lost her place among the social elite, a widow remarries and starts a family.

With L’inconsolable, Jean-Marie Straub continues the mise en scène of Cesare Pavese’s Dialogues with Leucò, initiated in 1978 with Dalla nube alla resistenza and followed up in 2006, 2007 and 2008 with Quei loro incontri, Artemis’s Knee and Le streghe – femmes entre elles. L’inconsolable is a reflection on the myth of Orpheus.

The battle of the sexes? The forces of despair and seduction? On S. Miguel in the Azores, Rogério, a young man with old money, and his enigmatic wife Leonor host a garden party at their villa. The intriguing guests are an older unmarried couple, the philosophical and observant Irene, and Michel, a roué. While Rogério and Irene talk, Michel and Leonor go down to the sea. The conversations upset Rogério and capture Leonor's imagination. Five years later, the four dine at the villa. Michel and Leonor again leave the other two. Intentions and undercurrents are subtle. One of the four proves strong, one weak, and two must choose. Wind and rain bring down the curtain on both acts.

In August 1961, speleologists from Italy’s booming North arrive on a Calabrian plateau where time stands still. The intruders discover one of the world’s deepest caves, the Bifurto Abyss, under the gaze of an old shepherd, the only witness of the pristine territory.

In early 20th-century Naples, a theatrical parody lands beloved thespian and playwright Eduardo Scarpetta in court, facing a malicious lawsuit that could compromise his freedom of expression and the economic security of his extended family—including his son's, young Eduardo De Filippo.

A fleeting encounter in a train station draws a withdrawn young man into a shadowy world of desire and danger. As obsession deepens, innocence destroyed, and an irreversible transformation begins.

During the events of May 1968 in France, different worldviews of conflicting relatives collide in their family estate.

A group of men and women have been brought together after World War II, when Italy regained its national and territorial unity. They make up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life, and look to protect themselves from violence, misery and fear. Amid the ruins of this post-war period, these men and women build a new rapport between themselves, between sexes, between generations, between social and geographical origins, between political camps.

In 1930s south of France, young orphan Roch is adopted by the wealthy Earnshaw family and moves into their estate, Wuthering Heights. Soon, the new resident falls for his compassionate foster sister, Cathy. The two share a remarkable bond that seems unbreakable until Cathy, feeling the pressure of social convention, suppresses her feelings and marries Lindon, a man of means who befits her stature. Roch vows to win her back.

Chris, a sexy teenager who appears mostly bare-breasted on the French Riviera, has a crush on Romain, her mother's lover. In reaction to her inability to attract his attention, she experiments with other risque affairs.

Also known as “Letter from Venice,” Susan Sontag’s fourth and final film tells of a relationship that is fragmenting as the partners tour the decaying ruins of a hallucinatory Venice.

The film takes place in 1973 during the Yom Kippur War in which Egypt and Syria launched attacks in Sinai and the Golan Heights. The story is told from the perspective of Israeli soldiers. We are led by Weinraub and his friend Ruso on a day that begins with quiet city streets, but ends with death, destruction and devastation of both body and mind. Various scenes are awash in the surreal, as Weinraub's head hangs out over a rescue helicopter's open door, watching with tranquil desperation as the earth passes beneath, the overpowering whir of the blades creating a hypnotic state. It is not a traditional blood, guts and glory film. There are no men in battle, only the rescue crew trying to pick up the broken pieces.

Is a classic but biting description of the city Lausanne seen from the inside in its imagination and its history by a native.

The film is a sort of presentation of Franco Fortini's book 'I Cani del Sinai'. Fortini, an Italian Jew, reads excerpts from the book about his alienation from Judaism and from the social relations around him, the rise of Fascism in Italy, the anti-Arab attitude of European culture. The images, mostly a series of Italian landscape shots, provide a backdrop that highlights the meaning of the text. - Fabrizio Sabidussi