Playlist
A year in Berlin: Leonie wanders through the city and the texts of Anna Maria Ortese. Speaking with friends and translator Sigrid Vagt, she is also looking for the narrative threads of her own life. A film about reading, shot in glowing, matter-of-fact 16mm.
In Mexico, Tere, a musician-composer, opens her home to a TV interview with a friend, as topics meander and new voices drift in. An absurdist comical chamber piece that skewers art-world hypocrisy, mocks pretension and celebrates a singular womanly bond.
"Cypress' Dance" was born of a documental process developed in proximity and sharing with a nuclear family made of four people. In this film Mariana, Artur, Rafael and Henrique inhabit places that allude to quotidian experiences, or that represent emotional and oneiric states. Rather than evoking a mundane geography, an emotional geography is brought to light, revealing daydreams and projections.
In the streets of Algiers, jacaranda trees bloom like shards of memory. Following in the footsteps of his father, Ameziane, a writer haunted by these purple trees, Hassen Ferhani (VdR Atelier 2022, Afric Hotel VdR 2011 and Tarzan, Don Quichotte et nous VdR 2013) explores the city, legacy and love. A rich and intimate quest in which writing, filming or choosing beauty become acts of resistance.
Visiting the Prague Zoo, Kartikeya calls his mother, a zoologist. He describes what he sees and imagines: the tiger's dream, the snake's insomnia, the gorilla's trauma. Somewhere between memories, projections, and scientific rigour, they decipher the mechanisms of life and gradually close the distance between son and mother, animal and human.
In the 1990s, 8-year-old Agata leaves her home in Poland and travels by herself to Belgium. Her perceptions transform the reality of migration into an imaginative experience of initiation.
After dreaming of her father's death, a young woman begins to imagine and inhabit the turbulent landscapes of his dreams and memories, uncovering fears that mirror her own.
The cityscape of Brasília: a clogging of industry, automobiles and endless looping paved roads and highways. Occasionally a displaced wild animal, be it a monkey or an ant eater, scampers across a street. The unlucky will be casualties on the road, and the lucky will end up in a zoo. In her striking debut feature, filmmaker Ana Vaz weaves a mesmerising, poetic odyssey exploring the contamination of urban expansion on the natural world.
Shot on grainy 16mm, a format itself looming towards extinction, Vaz's feature frames the landscape in the day-for-night wet blues of an endless twilight. Incorporating the eeriness of eco-horror with the ethnographic nature of a documentary, as the animals peering back at us from their cages and enclosures morph into a dizzying, poignant symbol of colonial displacement. A haunting, almost militarised score by the late legendary composer Guilherme Vaz propels us through this deeply textured and memorable meditation.
In the art installation Krakatoa, having its world premiere at IFFR 2026, visual artist and filmmaker Carlos Casas takes you on an intense, sensory journey. Through images, sound and vibration, he conjures the echo of "the loudest scream ever": the 1883 eruption of the Indonesian Krakatoa volcano. That explosion, one of the greatest natural disasters of modern times, forms the starting point for Casas' exploration of nature, perception and our connection to the earth. The consequences of the eruption were visible across the globe: skies turned red, temperatures fluctuated and, with the rise of international news channels, reports travelled faster than ever before. The Krakatoa eruption sparked key ideas about ecology, the sublime in nature and apocalyptic imaginings that continue to shape art and culture today. Casas approaches the volcano not merely as an historic event, but as a prism through which to understand the current ecological crisis – a force revealing how creation and destruction go hand in hand.
Three men are taking a walk between the apartment blocks of a suburban housing estate, feeding pigeons. They belong to a gang of small-time crooks who pulled off a major coup during the armed robbery of a Saudi Arabian prince's car. Their conversation revolves around acquiring a bionic prosthetic hand, a long-cherished dream that the stolen money can make a reality. They don't yet know that they are being pursued. The tranquillity of the scene stands in stark contrast to the later shootout with cold-blooded killers and establishes a space beyond the genre conventions of the classic gangster film – as does the stunning performance of a chanson by Breton singer Annkrist at a funeral service at the beginning of the film. The prince's ecstatic dance to raï music in a nightclub, during which his bodyguard fails to notice that he's being watched, also forms part of this poetics of digression. At the end, when a neighbour who is friends with the gang looks out from his balcony at children and pigeons playing, while the verticals of the banlieue architecture glow in the autumn light, everything is peaceful again.
Gianina, a young Romanian, works as a housekeeper for a bourgeois family in Bordeaux. In the evenings, she rehearses the role of a maid with an amateur theater troupe in an adaptation of The Diary of a Chambermaid by Octave Mirbeau. She takes care of Louen, her employers' son, while her own daughter is growing up away from her, in Romania.
Howard Brookner's thorough, compulsively watchable documentary follows theater artist Robert Wilson (who died in July at age 83) as he sets out to create an epic 12-hour opera, a collaboration between six international theater companies, for the 1984 Summer Olympics.
Milk pouring into open eyes, details of stones and roof tiles, or even dogs being petted. Francisco Queimadela and Mariana Caló invent an idiosyncratic yet hypnotic world.
Shortly before Christmas 1973, the crew of Skylab, NASA's first space station, went on strike. Based on transcripts of exchanges with the control centre on Earth, Graeme Arnfield reconstructs this episode, obscured by the heroic narrative of space adventure, in real time and paints an iconoclastic portrait of the astronaut asoverworked labourer.
A film about the gift of re-membering what was dis-membered by the colonial project. Dreamscapes, ritualised practices of sharing and ancestral rhythms render visible the previously invisible lines that once held communities and ecosystems in sacred balance.
In Rome, in June 1979, the International Conference for Amnesty in Brazil is filmed, a major gathering of the Brazilian left in exile. Viewed in the present day, this archive revisits with rare vitality the question of political strategies in the face of state repressive apparatuses.
An Indian refugee living in the capital of Kyrgyzstan, witness to the political instability surrounding him, drifts into a melancholic and elegiac meditation on his condition as a foreigner. Film stock is his last refuge.
Pablo lives on the Galician coast, where he is preparing a sculpture exhibition. He has recently stopped replying to messages or giving any sign of life, even to those close to him. One day, he receives a postcard from a friend who has moved to Canada. The past resurfaces.
Every day, an aging filmmaker whose eyesight is deteriorating spends long hours in a retail park. He waits for his wife, who is taking drawing classes. A portrait in and of a non-place, shot on 16mm between the supermarket and the carwash, meditations and reveries.
The filmmaker, a Chilean of Jewish and Palestinian descent, discovers Super 8 reels belonging to his father's family. Between Chile, Israel and Palestine, he reconstructs two trajectories shaped by displacement and exile. A lesson in history in which clarity emerges from political complexity.
Marseille, 2135. Following the disappearance of most terrestrial ecosystems, the Boyuna corporation offers survivors an escape into a world where they can relive dreams of the past alongside extinct animals.
This film-poem is composed of visual and sonic fragments in which landscapes, everyday gestures and distorted songs weave an inventory of loss. Between silence and vertigo, the past resurfaces. Pain, resistance and beauty persist within the absences carved out by colonialism.
Lili, a young French woman, lives in New York between odd jobs and coffees with friends while overstaying her visa. A chance encounter with two police officers tips her — and the film itself — into another dimension.
The land belongs to those who work it. But what about houses, homes, the place where one can rest and start a family? Image and sound unfold the history of the underlying structures that turn the right to a home into a tool of control, exploitation or dispossession.
Between the Caspian Sea and the Strait of Hormuz, through the reanimation of archives and documentary observation, a frenetic plunge into the parallel economies of a region shaped by imperial ambitions and survival instincts.
Two women separate. Their memories resurface tirelessly. A portrait of separation seen through the prism of sapphic nostalgia.
Around Lake Como, a voyage interrupted by a series of brief, successive stops, as fleeting as musical phrases. Someone enters and leaves a telephone booth. Water and the lines that contain it.
Seokja runs the transgender club Yeobo in Seoul's Itaewon district. Now 68 years old, she has spent her life defying social norms. A young man embarks with her on a journey through her memories and into a world where such norms do not exist.
An oracle in the Paris of May '68 and the back of a stranger in a Madrid nightclub in the early 1990s. Interwoven stories bound by a gentle attraction, as though desire permeated everything and the only law was that of necessity.
Mirages have been reported along the Spanish coast. A young French woman travels to San Sebastián to observe these visual aberrations. There, she meets a mysterious Portuguese woman who tells her a story from her youth: a story of gaze and obsession.
In a small provincial town in Germany, Lisa struggles with anxiety after her family returns to China. One autumn day, she meets Anke, who is preparing to leave the town after living there for many years. They wander the streets and get to know each other.
Banned languages, books telling stories of alien children, and strange sculptures that resemble spaceships. The history of the suppression of the Basque language during Franco's dictatorship opens the door to the invisible.
A heterogeneous group of shepherds travels through the Çukurova valley in Turkey, following in the footsteps of their nomadic ancestors. Between archives and imaginary correspondence, the film becomes an echo of the memory and disappearance of pastoral ecosystems.
A woman wanders through the streets of Lima, Peru, using Google Street View. Faced with surveillance footage documenting state violence during the protests of 2022 and 2023, she is confronted with a question: what is to be done with these images?
In the divided city of Mitrovica, Kosovo, fragments of a diary, everyday gestures and sounds gathered from the city compose an exploration of separation on multiple levels: political, territorial and emotional.
To be fifteen, armed with a MiniDV camera, filming one's adolescence in the 2000s in order to rediscover it later: friends, desires, holidays… Twenty years on, the tapes are unearthed and the diary rewritten in the future perfect, with all the fervour and tenderness of that time.
"Love is not made to console, no doubt — it is made to save. But we know all too well that one is only ever saved once. And only for as long as that once endures." Inspired by The Eternal Return, Michel Surya's novel, the film is a portrait of the book itself.
A chamber version of a chamber film — Marguerite Duras's Le Camion (1977). At once a reprise and a free-handed, mischievous variation, turned towards the face and voice of Fanny Ardant.
From Kabbalah to negative theology, from Walter Benjamin to Jacques Derrida, from lightning to thunder, fragments of a witty reflection on the notion of beginning.
An old man has turned his solitary journey and homosexual sentimental education into a narrative. From his encounter with the filmmaker emerges a luminous portrait and an unflinching confession.
In the Forez mountains, archaeologists dig and unearth the memory of a borderland. In the eighteenth century, salt smugglers were hunted down and arrested. A contemporary re-reading brings these fragments of history back to life.
An anthology of black humour by Radu Jude and Andrei Rus, revealing the inexhaustibly grotesque energy of TikTok (including in the age of the deepfake).
Today, in rural China, a man lies asleep, drunk. Within his nested dreams, houses of wood and paper are built; modernity and tradition intertwine; ancient poetry and new prayers resonate. Cinema is the ultimate kingdom.
In the Indian township of Durban, where post-apartheid violence still simmers, Lishana cares for her dying mother. Through her photographic practice, she reflects on life and death, past and present, navigating between the tangible and the mystical.
A filmmaker accidentally comes across a ruined village where silent souls refuse to revive the past. The remnants of a film shot years earlier constitute the only clue to understanding what once happened there.
Two voices , one written, the other synthesised, engage in a philosophical dialogue about the amorous abyss separating them: a nineteen-year-old girl has decided to marry the Devil.
Hanna still lives with her parents in the suburbs of Toronto. To earn a living, she photographs the interiors of luxury flats. A portrait of a disillusioned generation, caught between economic precarity and the difficulty of leaving the family home.
The Barbarian works in a second-hand clothes shop. He has only five erections left before he dies. He sets his sights on Marie, an alcoholic teacher who would resemble the Virgin Mary if her nasal pyramid hadn't been ravaged by cocaine. "A children's film for adults."
Two "professional mourners" meet within the ominous setting of an Art Nouveau villa. Who — or what — is being mourned? From Beirut to Sarajevo, what first appeared to be an intimate encounter gradually transforms into a singular confrontation with History.
His name is Ramón Vázquez. He comes from La Pampa and wants to reach Soto, near Córdoba, to reunite with his father. He has not seen him in thirty years. The difficult journey gives rise to a series of encounters on the threshold. And the light blinds.
Hunted by repression, Rúbia is taken in by Margô, the madam of a brothel in Ceilândia: La Toca, a refuge for the women who live there and the men who frequent it. This feminist fable celebrates the pleasure of bodies and the senses as a form of resistance.
A mother and her young daughter live on the island of Sant'Erasmo, Venice. As the waters continue to rise, each responds in her own way to the ecological emergency, to the risks of destruction and disappearance that compel us to care for all living things.
Two brothers reunite in their childhood home to speak about the incest one of them suffered there as a child. Over the course of a single day, their conversation intertwines the most difficult questions with the boldest theories, delving deep into our religious and mythological history.
For forty years, the filmmaker's mother devoted herself to others, first as a primary school teacher and later as the disability coordinator within her school. Her decision to leave the public sector becomes the occasion for a generous portrait that reveals a system in crisis.
A recently retired criminal investigator makes the acquaintance of the Devil. During their nocturnal walks, a bond develops between these two melancholic and solitary beings.
Sumatra, early twentieth century. The exploitation of rubber by Dutch colonisers leads to the sexual enslavement of female workers. Archival and contemporary images intertwine in a documentary fabulation that plunges into the depth of a long-erased history.
In the 1920s, the United States federal government hunted down and expelled thousands of anarchists and communists. A theatrical staging summons the ghosts of the past: under threat, a group of activists debates whether or not to go underground.
A photographer's journey between past and present, as she develops a project on the concentration camps of the Spanish dictatorship, gradually reveals a cartography of the memory of the defeated.
On 10 December 2024, at around two o'clock in the afternoon, a homeless man immerses himself in a lake in a Buenos Aires park and disappears. From this news item, the filmmaker reflects on the films that will never be made and those that may still be possible.
A river: the Esla. A region: Tierra de la Reina. A dam and a fire: two ways to lose paradise. A forest saved by a miracle and a valley in danger. Locals who write and a foreigner who reads, listens and watches.
A quiet whistling returned from childhood; the calm of a sky and a river dissolving into one another, from which emerges the image of a loved one. For the duration of a reflection, the water reveals memories and offers the delicacy of a glimpse into the course of a life.
Composed of subtitled stills from Global South cinema, the film opens a borderless space where characters from different films meet across time and space, creating new links between words, gestures, landscapes, and affects.
A political Consciousness identifies and responds to the violence of our institutions through the work of philosopher Geoffroy de Lagasnerie. This film is a call to action, conceived in collaboration with Assa Traoré, Edouard Louis, Didier Eribon and other allies.
Drawn from an online image bank, short POV sequences bring into dialogue mental loops and visual loops, mantra, self-persuasion, and obsession. "Art video is not a way of expressing who we are; it is a way of going in search of what we all are" (Vimala Pons).
Exploration of a group of children in a lush urban environment in Porto, combining play, collective movement, and a reflection on arts education, childhood, and the relationship to space and material.
This film depicts the painting "Inferno", from the early 16th century, in which the demonic is associated with the extra-European world.
A man leaves the hospital. He sets out on a journey, perhaps a final one. Alongside the mystical landscapes drift the verses of Hospital Británico (1986), the last book by Héctor Viel Temperley. And the words of those who have been marked by reading it over the years.
After a long ascetic retreat, Jesus rejoins the members of his community, supported by his disciple Judas. His teaching astonishes the crowds and draws the attention of the resistance, the high priests, and the Roman authorities. The Judas of this "Gospel according to Rabah" is the opposite of a traitor: the fierce guardian of a spirit of love, revolt, and freedom.
Have you ever felt like everything was predestined?
Between light, metal and golden reflections, Filme Pin transforms a collection of badges celebrating international solidarity into an archive: on another scale, the spectres of exile and the struggle against the Portuguese fascist and colonial regime reappear.
Albert Serra versus Antoni Tàpies. This is neither a portrait nor an attempt to interpret the work of the Catalan painter. It is a personal and provocative plunge into the material and symbolic density of his painting, in order to make a film unlike any seen before.
In 2015, Arrietta portrayed his friend François-Marie Banier — his studio, his photographs, his paintings — with a Mekas-like freshness and cheerful detachment. Ten years on, a visit to a country house adds another piece to the fragmentary account of a life shaped by encounters and friendships.
What if blue were disappearing from the spectrum? Through images and narratives blending visual poetry, irony and reflections on the disappearance of blue — and, with it, of living things — the film sketches out a meditation on the language of colors that we share.
The shades of color that you see when you close your eyes.
A child kneads bread dough, creating a metaphorical link between food, sculpture, and historical memory.
Dive underwater… What can you hear? Not much. Just a distant, indistinct murmur. Growing up deaf in a world of hearing people, then meeting young people just like you… questioning your identity, without seeing deafness as an inevitable fate.
An artist with writer's block is on the phone with a supposed Microsoft employee. She begins to talk – about heartbreak, emptiness, procrastination – and unwittingly becomes a scam-baiter.
The story centres around two families in Okinawa, Japan, where plans for construction of a new US military base are ongoing, yet unsettled and in an unstable stage. It is the occasion of an eccentric and satiric portrait of a place under American colonial influence.
A man is searching for a bird he has never seen. With every step he takes, he loses a certainty, a memory, a face. As the bird flies further away, he becomes unrecognisable even to himself. When he finally thinks he has caught up with it, there is nothing left to find.
Kamel, expelled from France, returns to his native village in Algeria. He finds a society wounded by civil war and marked by inequality between men and women. When Louisa is prevented from singing by her husband and beaten by her brother, Kamel takes a stand and defends the young woman.
Bleda y Rosa are one of the most significant Spanish visual artist couples of their generation. They are working on the installation of an out-of-context structure in the middle of the Valencian landscape. Of this entire process, only a single photograph must remain.
Through a bus window, moving back and forth between vivid digital images and grainy 8mm film, the work allows past and present, Okinawa and Palau, memory and landscape to overlap and drift into one another.
Images and sounds intertwine to weave a tapestry paying tribute to labor and assembly.
The artist channels the stories of survivors of the Battle of Okinawa through lip-synch and superimposition. With her body as an archive, she stages the link between the donors and inheritors of trauma and, ultimately, the impossibility of transferring memory across generational lines.
Between 2016 and 2021, Laurent Achard directed four portraits of filmmakers: Paul Vecchiali, Jean-Claude Brisseau, Jean-François Stévenin and Patricia Mazuy. The fifth — devoted to Leos Carax — remained unfinished. A tribute to the late filmmaker by his producer, and a double portrait of a friendship.
Visual experiment centred on water and reflection in the forest of Buçaco Forest.
In an industrial area of the region of Paris, Mao runs a small company that rents and repairs pallets. When he decides to create a mosque at the workplace, a conflict arises over the appointment of the imam. Stories about class relations, stories about the ties between work and religion: the red pallets become the makeshift stage of a new kind of political cinema.
Kamel is a "double punishment" case: sentenced to prison and deported from French territory. He returns to the suburban housing estate near Paris where he grew up. Without legal papers but supported by his friends and family, he tries to reintegrate into society. A tender portrait of life in the housing projects and an uncompromising observation of social injustice and police violence: the first film of a raw, deeply sensitive filmmaker.
A subjective gaze moves through a landscape, reaching out across time and space – abandoning passivity and transforming into something akin to touch.
Elise moves like a dancer, very slowly, refusing a treatment whose side effects she fears, along with the lectures of her doctors. The camera works in harmony with her rhythm, with the movement of her thought, accompanying and sustaining throughout the film the permanent reinvention of her way of being in the world and of facing illness.
A political demonstration in Argentina. A couple attempts to understand one another through landscapes. In Marseille, a young man asks another: doing what ? A cat watches the scene from behind a window. A poem for a utopia of disagreement.
The story of a noisy yet endearing green bird who lays her first egg.
June 2025. During a residency at Baumettes prison, Hassen Ferhani transforms the Image and Movement workshop into a photography studio. Over the course of a collaboratively made film, the studio shelters, liberates and clarifies the dreams and bodies of the men who take part in the game.
In a nameless country (France? Algeria?), in the midst of a civil war, a hospital doctor struggles to fulfill his duty every day. After the murder of a journalist friend, he receives death threats. His life is turned upside down when he is requisitioned by an armed gang. A dark film, torn between the ghosts of the past and the rise of fascism.
An experimental sonic work by Lebanese artist Yara Asmar, unfolding as an intimate sound-based construction of space, memory, and emotional architecture. Through layered sonic fragments, the piece reflects on building, inhabiting, and imagining a house as both physical structure and internal landscape.
A sonic journal documenting life in Gaza through recorded sound. The work captures everyday auditory environments shaped by war, displacement, and survival, using field recordings and testimonies to construct an intimate acoustic portrait of Gaza under ongoing violence.
An experimental sonic work exploring the atmosphere, rhythms, and acoustic presence of the Casino de Quiberon. Through layered sound materials, it evokes the spatial memory of the site, blending ambient noise, architectural resonance, and documentary listening into a fragmented auditory portrait.
A frontline sonic journal from Ukrainian musician-soldier Timur Dzhafarov, the work assembles wartime sound recordings from the war in Ukraine—piano fragments in abandoned houses near Bakhmut, hospital rain, sirens, and battlefield acoustics. It traces the transformation of listening under conditions of war, where sound becomes both memory and survival.
An experimental sound-based work exploring perception and listening through coastal environments. Using field recordings of beaches, waves, and resonant tubular structures, the piece transforms natural and constructed acoustics into an imagined sonic space where landscape, vibration, and listening intersect.
An electroacoustic sound work composed entirely of field recordings captured on urban construction sites. The piece immerses the listener in a city undergoing constant transformation—subway excavations, collapsing infrastructures, machinery, and human movement. It forms an immersive sonic portrait of urban change, treating the city as a living, vibrating organism rather than a static space.
A short experimental work framed around the symbolic month of October, evoking temporal passage, memory, and atmospheric perception through minimal visual and sonic composition.
A sonic exploration of the chergui, the powerful east wind that blows across northern Morocco, blending environmental soundscapes, oral testimony, and traditional music. The work reflects on the sensory and psychological impact of wind as both a physical force and a metaphor for internal states, drawing connections between natural phenomena, collective memory, and cultural expression in Tangier.
A radiophonic essay built around a recorded phone call with the artist's late grandmother, the work explores memory, loss, and cultural erasure. Through fragments of conversation and the Breton song "Petra hoc'h eus kavet, Yannig?", the film reflects on the disappearance of language and inherited memory within a family shaped by the fading of Breton cultural transmission, reconstructing what can no longer be fully recovered through sound and imagination.
An evocative radiophonic sound journey through the Glasgow Subway—known as "The Clockwork Orange"—the work transforms the city's circular transport system into an immersive sonic composition. Performed live using concentric tape loops, it layers field recordings and voices that repeat, distort, and evolve, echoing the rhythm, noise, and disorientation of underground travel.
A brief sonic and visual passage exploring subterranean spaces as metaphors for memory, transition, and disappearance. Through fragmented perception and sound-driven composition, the film evokes the sensation of moving through layers of hidden or fading presence.
An assemblage of images and sounds from the José de Guimarães Center, presented in an experimental and mediumistic language.
Slimane, an old, weary, and sick trucker, and Smaïn, his loader, are tasked with transporting a cargo deep into the Algerian Sahara. Along the way, they are violently attacked and their truck is stolen. When Anna, a young French researcher, and Sofiane, her traveling companion, come to their aid, the film plunges with them into the desert.
"I am, we are. / Nothing more is needed. / It is for us to begin." The energy of the revolutionary people and the words of revolution, traced through the history of cinema, from its very origins. A reminder: the Bastille must be taken again.
Starting from a fragment of wall and a daily ritual, an experiment in the perception of colour. How do light and time construct it?
The second opus of the filmmaker's series on Ignacio Corsini (1891–1967), the great Argentine singer. The members of the Comando Corsini venture into La Pampa, where the definitive demonstration of the musician's rural origins — far from his urban world — is being prepared.
A poetics of animal and vegetal gesture, intertwining metamorphosis and philosophy.
An eldery apartment dweller steps out of her cage into the big city after her pet bird is accidentally set free by the little girl next door.
Taking its name from a tourism operator on the island, this work composed of three performances amounts to a parody of a tour of Okinawa.
Escaping the routine of city life.
Drawing on family archives filmed in Palestine in 2000, an essay on memory, place and the gentle yet persistent force of images to bear witness, yesterday and still today — even when the world decides to move on.
A dive beneath the surface of the Mediterranean Sea in the bay of Marseille, where marine life and human presence intertwine in an incessant flow. This immersive and wordless experience questions humanity's hold over an underwater world that is both fragile and resilient.
After the birth of Czechoslovakia in 1918, a new architectural style flourished in cities such as Brno and Bratislava. The fate of the famous Tugendhat Villa, designed by Mies van der Rohe, mirrors the turbulent history of this short-lived nation-state.
Fouad Elkoury is a photographer, Etel Adnan was a writer and painter — both Lebanese, and friends. After Etel's death, Fouad writes letters to her. Then comes the genocide in Gaza. Her Arab Apocalypse and his photographs resonate together in an attempt to confront the tragedy.
Twists and turns through Giorgia Meloni's Rome, a two-voiced letter addressed to the Brazilian filmmaker Glauber Rocha fifty years after his Roman film Claro; political voices and gestures from the Rome of 2023-2025. "The bird of eternity does not exist — only the real is eternal."
On a journey through heartbreak, in search of transformation. The film is built through friendship: each person helps in their own way, searches for the story, translates the words into their own language, sings Emily Dickinson, joyfully mends the dress of sorrow.
Louis, an 8-and-a-half-year-old, autistic boy, arrives at his new school and prepares to introduce himself.
After the execution of Louis Mandrin, a famous outlaw and popular hero of the mid-18th century, his companions dare to embark on a new smuggling campaign. Hunted by the king's army, they seek to print the songs of revolt written in Mandrin's honor and to spread them throughout the Kingdom of France.
On an ordinary summer afternoon in the countryside, three bored siblings staying at their grandmother's house decide to go to the bakery for a snack.
Experimentation with everyday gestures and temporality.
Rome, 12 October 2023, EUR district. A group of people is guided by Alexandra, a transgender sex worker and member of the Feel Good cooperative, through a series of nocturnal performances seeking to restore meaning to these places of exploitation and power.
For a year and a half, the filmmaker documented the construction of a future residential facility for young autistic adults. At the same time, she spent time with her daughter Pénélope, a future resident there. Questions of architecture intersect with the realities of autism.