Simon P.R. Bewick

The reappearance of notorious criminal Paul Sanchez becomes an obsession for a young police officer who will do anything to catch him.

If there is one person Matthew Lancit can’t get out of his mind, it is his uncle Harvey. Dark rings around his eyes, pale, blind, his legs amputated. Like Harvey, the filmmaker also suffers from diabetes. He has the disease under control, but one question is always nagging at him: How much longer? His long-term (self-)observation reliably revolves around fears of infirmity and mutilation. He translates the feared body horror into film, stages himself as a zombie, vampire, a desolate figure. Lancit playfully anticipates his potential decline, serving up a whole arsenal of effects which – as video recordings prove – go back to his youth. It is not for nothing that the “dead” in the title is also reminiscent of “dad.” Because “Play Dead!” also negotiates his own role as a father.

Eva flies back from France expecting a simple funeral. What she gets is a hunchbacked grandma, a furious village priest, and a coffin that just won’t fit. With the church refusing to bend and the body refusing to straighten, Eva is forced to navigate small-town absurdities, family pressure, and funeral logistics that defy common sense.

It could have been a normal day for Virgile, but that's not the way it turned out. After being the victim of a strange attack, the young man is then forced to share a dressing room with Robert Lesmur, the main actor of the play in which he plays an extra. A disturbing character, Robert stimulates feelings in Virgile that will quickly overwhelm him.

Zou tells the story of a man with a missing leg who moves forward more intensely than an able-bodied man. The amputated leg, a phantom limb that he can still move in his mind, is the pivotal point of this story. At the same time a trace of the war that made him lose most of his family members and forced him to flee his country, at the same time a brake on his exodus that made walking painful and more laborious than any of his fellow travelers, it is also the fulcrum for his integration into a new territory.

Hugues is forty years old. He's an actor but he doesn't want to perform. He's taken refuge with Serge, his partner, in the house where he grew up. However, Micheline, a director, insists that he tread the boards once again. Serge gives him an ultimatum: it's him or the play. Hugues chooses the play. When rehearsals start, Hugues, alone in the house, discovers naked people frolicking in the field adjoining the garden.

About roughly 130 men are imprisoned in the Detention Center of Casabianda, Corsica. Most of them were convicted of child abuse. The inmates spend their last few years of imprisonment working the fields of this wide agricultural domain.

Thirty years old, a nothing job, a timid love affair: Rémi is a little at sea in his life. Until the day when he must share it with his double, another him, invasive and not so nice. Which one will be the true Rémi?

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No description available.

Out in the suburbs around Paris, a specialized teacher, Josiane, is taking care of five children failing at school. There, they share their fears, joys and sufferings at school. 'In session do not disturb' introduces us to their world while they will learn to learn.

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Martin, a teenager with a keen passion for outlandish culinary experiments, along with his friend Charlène, a historian by blood, find themselves transported back to the Middle Ages after messing with an old toaster. Mistaken for wizards by the people of the time, the two friends must figure out what's going on while confronting familiar faces...

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No description available.

Summer in the suburbs. Between two massive towers, aeroplanes trace thin threads of cotton. Two young sisters run away. Dream? Reality? The film unfolds like a philosophical tale, in which off camera voices punctuate the thoughts of children on the verge of growing up. Somewhere between a Western and a fantasy film, this waking dream marks the passage from childhood to adolescence.