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Alexandre, 22, lives with her mother and her little sister in a makeshift apartment. While his mother is out for the day, Alex must take care of his sister. He promised to take her to the cinema, but before that he will take her with him to his drug dealer…

In rural France, an automated farm runs without the presence of humans.

In her small apartment on the outskirts of Paris, Chahine tinkers with the rhythms that will accompany her on stage. This is her space, the only one where she feels safe. She visits her surroundings on Google Street View. As a woman born in a man's body, she is reminded of her difference every day. And the difficulty of finding one's place in the world is coupled with another question: who owns the city?

Seventh film in the “Phénomènes Inexplicables” franchise.

Three little ladies have lived for more than eighty years in the heart of a patio. In this modest theatre, daily rituals go hand in hand with the lapping of the fountain and nothing escapes María, the turtle. This place frozen in time is disturbed by the metamorphoses of the outside world...

Arab LGBT individuals send Helem Montreal the Migrant Mixtape, a series of recorded letters. They are asking for support to seek asylum in Canada in order to escape persecution and homophobic violence in their country of origin. One of them, Adib Mardini, having managed to become a refugee in Canada, tells us about the process that changed his life.

A Québec barber who volunteers for the homeless every Tuesday on her day off gives us a glimpse of the lives of several homeless , all with striking and distinct personalities.

In the streets of Tunis, Chaima dances, Oumema paints graffiti and Shams slams. These three young women are of the same generation. They have to fight against the patriarchal system to find their place and express themselves through their art. They personify all the different shades of a common fight: freedom for women in their country. A pacific fight that they wage in the street, a space largely occupied by men in Tunisia, and that they have chosen to reconquer by the practice of Street Art.

"How much do you know about this place ? You need to be ready to leave your mirror shape behind and become a dark crystal. There's nothing like the rush of having a new body"

In Belgium, the law allows lesbian couples to have children using assisted reproduction with anonymous sperm donation. The director wonders: Could she have a viable family if the next person she meets is a woman? Because for her, a family is a father, a mother and children. She therefore sets out to meet members of these new homoparental families and the actors who have contributed to their emergence: she revisits their stories, questions herself, reconsiders their pitfalls, tries to heal certain wounds, and pushes her reflection a little further.

The Tears of Minos

Experimental cinema can also deal with the most serious issues concerning the state of the world today.

The fight against oppression of a gang of four crazy retirees. Four residents of a retirement home want to watch their favorite soap opera but the head nurse confiscates the remote control.

After the defeat of France by Nazi Germany on June 23, 1940, Adolf Hitler makes a sudden trip to Paris. Despite hating the French people, he finds the capital surprisingly fascinating.

When three friends dabble in the occult and Ouija boards in order to contact their deceased loved ones, they quickly realize that this mistake has condemned them to face Kiproko, a demon whose goal is to take them to hell.

For this project, Bak went to northern Morocco to meet women working as shrimp peelers for a Dutch company. The shrimp are fished in the Netherlands, transported in refrigerated trucks to be prepared in Tetouan and then sent back to their starting point for marketing. "Boussa from the Netherlands" shows the women, a source of cheap labour for the multinationals, paid on a piecework basis, carrying out their activity in deplorable conditions, without any social protection.

A young woman suffers from an intense fear of crowds.

A young Haitian living in Guadeloupe, Jean-Chrislet writes every day on his mobile phone. Behind closed doors, I suggest that he tell me his experience through the reading of one of his manuscripts. Between readings and conversations, speech is laid bare to be heard during a journey to the other and to oneself.

A woman creates collages with the words she identifies in the voices of her mother that she hears in her head. She struggles to make sense of them.

In Algerian Novel - chapter 2, French philosopher Marie-José Mondzain reinterprets Algerian Novel - chapter 1. The film’s nested structure is a way to keep images and their symbolic load at a distance. It opens a new space of negotiation wherein new associations can be shaped. They function as a starting point for the writing of a history in movement and produce narratives which then become touchstones for a new kind of historicisation. In the second part of this second chapter, Mondzain analyses another visual material: that of the rushes recorded during the shooting of the first chapter. These rushes could have been left invisible, or rather 'unseen'- the same way some of the Algerian’s historical figures are not represented on the pictures of the kiosk. In her book, L’image peut-elle tuer? [Can the image kill?], Mondzain defines the 'unseen' as what is waiting for meaning in the community debate. The unseen would then be a sort of unexploited archive, waiting for the gaze to expand.

Yann is in love with Aman, they live a beautiful adventure between men. But this idyll is going to be disturbed by a woman who wants to force Yann into a heterosexual relationship. A disturbance between the two homosexual lovers and a torn love life for Yann, who suffers from the prejudice and homophobia of this intriguing woman.

A deconstruction of an architectural symbol suffused with fascist ideology, from a viewpoint somewhere between repulsion and fascination. Filmed in 8mm and then enlarged to 16mm, the image takes on accumulated contrasts and a nearly pictorial grain. The second part was filmed in stop-motion using slide stills captured on site, which allow more freedom in deconstructing the image.