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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.

What difference do you see between these ashes and the dust of the Milky Way? This film navigates between different textures that are part of nature: water, roots, tree bark. Because of the disparate scales, these things are shown in an abstract way. The movement of these elements in concert are what informs the identity of earth in progress.

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.

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...

After the trying constraints of lockdown and social distancing that brutally reduced urban space to its strict minimum, making it into a place where isolated individuals merely cohabit, Homo Urbanus is a cinematic odyssey offering a vibrant tribute to what we have been most cruelly deprived of: namely, public space. Taking the form of a free-wheeling journey around the world (10 films, 10 cities), the project invites us to observe in detail the multiple forms and complex interactions that exist every day between people and their urban environments. Somewhere between visual anthropology and observational cinema, these films put urban man under the microscope and encourage us to take a closer look at individual and collective behaviour, interpersonal dynamics, social tensions, and the economic and political forces that play out every day on the grand stage of the city streets.

One evening in 1997, invited by the Astropolis team, Manu Le Malin discovered the Keriolet castle, in Concarneau. He was then 26 years old. Two decades later, the enfant terrible of hardcore (now also popular in the techno sphere) and the ravers of the Breton point form an inseparable family. Christophe Lévêque, the hedonistic owner of the castle, continues to welcome them every year. To retrace the history of Manu Le Malin, we gathered in Keriolet those who have been with him during these two decades. A family reunion in "Snow White's castle on acid", to tell the story of this strange night bird that only the light of day can stop.

Adopting a photojournalistic approach, Alan Butler's series Down and Out in Los Santos aims to engage in a sort of social-realism for the software-age, documenting poverty and the lives of the homeless within the video game environment’s socio-economic hegemony.

KATOPTRON is a kind of visual and auditory pudding containing, among other ingredients, the madness of Abel Gance's Doctor Tube. The distortion of visual perception, which is the theme of Gance's film, proliferates in KATOPTRON. Fiction cinema (Kubrick) as well as experimental cinema (Malcolm Le Grice) and video art (Gary Hill) are absorbed by this vortex. However, the saturation does not prevent a certain paradoxical order from emerging from this chaos.

An ode to aging women, to their bodies and their desires, located somewhere between fantasy and reality. Within an enclosed space, four women meet, get to know each other, and free their desires.

An evening. A room. Here or everywhere. A young man, anonymous. awkwardly, He undresses. His thoughts are expressed, intimate and confused. By undressing, he exposes himself.

Death Must Be Earned is the intimate portrait of Serge Livrozet, former safe-cracker, one of the protagonists of 1970s French counter-culture, alongside Michel Foucault founder of the Committee of Prisoner's Action, self-taught writer and anarchist activist. The film portraits him at age 75 in his hometown of Nice where he revisits the pivotal episodes of his life of social struggle and political activism.

A love story between Marie-Louise, 92 year old aristocratic catholic Degaullist and Mrs Kébé, a 49 year old Malian Muslim woman in Paris, 19th arrondissement.

The film "Default Character" focuses on the vocabulary, tools and human representation in the various types of softwares that is used for modelling and tracking crowd behaviours.

Bored with Eden, Adam and Eve make a break for it. But their absence is noticed and God calls in his henchman.

Sublimely simple, superbly complex – an invitation to watch with your ears and listen with your eyes.

"We live in a time of urgency, speed of mass information and algorithms. How does it influence our lives, our social contacts, and what will be our future? French filmmaker Pierre Villemin explores these questions in his excellent experimental film On the Side of Immediate Reality. In a «voice-over» that represents an obsessive emergency - gentle but demanding at the same time - Villemin asks questions that concern us all. Subjects as vast as humanity, or as small as our daily use of Facebook, which play an essential role in the director’s investigation into our malaise in the 21st century. On the side of immediate reality is a double-edged film that invites the viewer to ask questions, find answers, reflect on the world in which we live and on ourselves." Nadin Mai, Tao Films, 2018.

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