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Capturing the architecture of the city through its own mirrors produces a visual echo: condensation and distortion of the images alternate through the play of projection, reverberation, and diffraction.

A man arrives at a woman's house. The atmosphere is a little tense, she tells him she leaves him. A little while later, with the same electricity in the air, a woman arrives.

During the Nazi regime, 100,000 men were arrested for homosexuality and 15,000 were deported, including 210 Frenchmen. After the depenalization of homosexuality, only one of the deported men from France had the courage to go public about an extradition that even now is not officially recognised. Alternating excerpts from Pierre Seel's autobiography "Moi Pierre Seel, déporté homosexuel" and conversations with militant gays, "Amants des hommes" seeks to shed light on a forgotten history, linking the past with the present and yesterday's homophobia with that of today.

2006. Chantonnay, small town in Vendée. Antoine Blanchard, a lonely man victim of homophobia, is in love with a Catholic deputy, Philistine of Valence, who hides his double life from his wife and children. The romantic relationship is unhealthy, suffocating and does not take long to turn into drama.

A road movie: roaming, tiredness, meetings...

It is June. The rainy season begins in Mali. Henri-Francois Imbert arrives in Bamako. He is looking for his friend Doulaye Danioko.

One night in a shady hotel room. Taciturn Ludovic takes on Lamya, a fiery aging Spanish prostitute. Is it out of lust? Or out of curiosity? He can't tell. But soon enough Lamya realizes something's definitely wrong. That's when things suddenly take a weird turn.

What we can imagine a butterfly sees of the world around it: movements, lights, speed, objects, but also colors and tremors that adapt to the sparkles of these movements.

Portrait of a committed youth in Chad, working in a humanitarian mission in the region of Ouaddaï. Chased away by the war in Darfur, neighbour country, the refugees have come in mass in this province suffering from extreme poverty, threatening an already fragile local balance. From Hadjer Haddid to Brussels or Paris, the film tries to highlight the complexity of a mission and takes as a starting point the questions each one has on a profession undergoing transformations.

Ciné-Romand is a mise en abîmé of previous films of Françoise Romand. Spectators are invited to discover them at a happening that mixes fiction and reality as domestic theater. Voyeurs are not always who we think they are. Guest/spectators, hosts, angel-guides, actors and technicians - all become characters in this fictional documentary where Alice's looking-glass reflects a mischievous fantasy with the roles reversed and complementing one another.

Documentary follows Zalika Souley, pioneering Nigerien actress whose groundbreaking roles in 1960s–80s African cinema made her famous yet led to social stigma as audiences conflated her with on-screen prostitutes or adulteresses. Now living modestly in Niamey, she reflects on her career, memories, and challenges. Her story parallels the rise and struggles of Niger’s nascent film industry and illuminates the evolving status of women in modern African society.

Liquefied pictures morph into substances of airborne [volatile] lights. The eye does not have hold anymore on forms with a now unsteady outline. By successive births, these throw themselves little by little in different conditions of color until they are embodied in the completion of a picture.

Short film by Philippe Cote.

Las Vegas : a fast-growing junkspace spreads in the desert, populated by moving shadows. The urban frame and the crowd are condensed into one dimension to form an abstract image of the city, disembodied and melancholic. In a continuous movement that seems endless, the landscape is written.

Self-portrait through a tour of the filmmaker's studio.

Five Belgian gays and lesbians discuss their comings-out.

A woman carefully drapes blue, white, and red cloths around her hips, as if she were about to begin a belly dance. This reference to the cliché of oriental femininity is tellingly clothed in the colors of the French nation. After a few minutes, just as the body finally begins its rhythmic movements, the Marseillaise blares out demonstratively. The heroic-national aspect of the march music supplants the expected sensuality of the dance. From the perspective of a young Algerian woman living in France, Zoulikha Bouabdellah presents the history of colonialism and a post-colonial present equally marked by exoticisms and racisms in an ironic and extremely condensed form. 1-channel video installation, color, sound

Social poverty seen through the eyes of a young girl.

Like a puzzle, this film works on different elements: a guided tour in the waste lands of three cities (Brussels, Hamburg, Roma), a documentary about stray cats and the people who food it, some choreography of daily gesture, a question about cartography (and the common using of space), like a "wink" about the human Order and Chaos and a statement on the present difficulties of the Inutility.

May 2007. Elections, first tour; the moment of the vote, plus a love portrait. With the voice of Rustem, Turkish philosopher, reader in France since 1978. Film invited by Raphael Sevet for the Super8 Festival ‘One Reel’ set in Paris, June 2007.

Always concerned with freedom of expression, which for him is essential, mounir fatmi also considers sex, and does so with great delicacy. To make this jewel of a film, fatmi edited together censored love scenes (literally cut with scissors) from Une minute de soleil en moins. With Les Ciseaux, fatmi has produced a threefold work of memory: first of all, he preserves Ayouch’s original film, to keep it from being forgotten; secondly, he delivers a frontal critique of censorship, to keep that too from being forgotten; and thirdly, it is a discourse on love, to keep us from forgetting. Furthermore, in Les Ciseaux fatmi achieves a juxtaposition or, rather, a shifting between bodily embraces and the dreams that go with them. The memory of the lovers plays the role of the video maker, and in Les Ciseaux we go from intertwining bodies to inner images.

There are also film-shots, like "L'Envers", admirable montage between 1988 and 2005 from the voice of Jean-Luc Godard, Bob Dylan or Marlon Brando. (Nicole Brenez - Portrait Arte - May 2006.)

The white screen of the cinema projects the image of a film. However, as the brightness of the mind breaks through the night, in order to imprint this burst of light, it needs a black screen, becoming the never ending abyss of the imaginary, reflecting this spiritual enlightenment.