Le portrait d'une comédienne qui va faire son dernier film à Rome dans les années 1980

A portrait of actress Eleonora Duse.

While trying to save her family from a return to the street, Shakira, a young gypsy woman, meets Marius, a member of a robber gang.

As a heat wave brings a Marseille neighbourhood to the boil, three roommates gleefully meddle in the lives of their neighbours from their balcony. Until a late night drink turns into a bloody affair.

Albert and Bruno are in the red, compulsive consumers, over-indebted, they live between petty schemes for one and a personal life adrift for the other. It is in the associative path, which they both take to get their heads above water, that they will come across young rebellious activists, climate alarmists, lovers of social justice and eco-responsibility. More attracted by beer and free crisps than by their arguments, Albert and Bruno will gradually integrate the movement without conviction, if not that of taking advantage of each action and each rebellion to schem and profit from it. Between ideological or suffered minimalism, between overconsumption and happy sobriety, we face the complex simplicity of our future, the oppositions and paradoxes of our time, in short, everything is fine.

2022 film directed by Bess Wohl

2023 film directed by André Téchiné

Jeanne与朋友们一起前往罗马尼亚举办单身派对。在那里，她遇到了Nino。27岁的她和17岁的他之间存在重重阻隔。一个充满激情、令人无法忘怀的夏天就此开始。

2024 film directed by Audrey Diwan

2022 film directed by Louis Garrel

10pm on a summer's evening. The sun goes down over the Place de la République in Paris. Lucie and Rio embark on an "urbex", descending into the city's abandoned underground networks. The two teens share their adventure live on social media. On a subway platform, two young lawyers are on their way to join some friends. They film themselves as they wait for the train. Nora and Djibril have just made love. While he heads off to work, she meets a friend for the evening. None of them yet know it, but moments later, a terrorist attack will change their lives, linking their destinies forever. In a few moments, they are about to enter the darkness. The fiction unfolds through three simultaneous video feeds, filmed on cellphones and available to all via social media. By switching from one feed to another, the spectator discovers the three narratives of an ensemble film. From the excitement of the moment, comments from fans, and loss of signal, the spectator is immersed in the flow of multiple ...

He is 30 and just got out of jail after 12 years of detention. She is almost 24 and has a simple life away from the city. One day, he comes to her and she let him stay with her. That's complicated when your older brother needs to get back to a normal life. Between tenderness and bursts of laughter, his anger is sometimes out of control. However, she wants to help him. As for him, he wants to meets with his sister again.

Céline and Ramón are a young binational couple who survived the terrorist attack at the Bataclan theatre on November 13, 2015. That harrowing night has left an open wound in their lives and they are struggling to regain a sense of normality and move beyond the identity they have been assigned as victims. While Céline has repressed her experience and thrown herself back into her old life, Ramón is stuck in the past. Both are grappling with the same question: how can they survive and move on as a couple?
Adapted from the testimony of Spanish Bataclan survivor Ramón Gonzalez, Un año, una noche is an intensely empathetic work. The therapeutic process of turning traumatic facts into fiction by committing them to paper has apparently helped this young man return to his life. Filmmaker Isaki Lacuesta’s intuitive direction embraces realism and subjectivity to tackle the central paradox in a wounded psyche: the need to break away from the reality of one’s memories in order to get a grip on reality. Thanks to astonishingly subtle yet explosively emotional performances from Nahuel Pérez Biscayart and Noémie Merlant, these memories become ours, too. They make us feel that together, we can try to heal the collective wound.

24部短片，24位作者，24位女演员和10位导演，短片聚焦了方方面面针对妇女的歧视和侵害。
公车上的性骚扰、恋人之间的PUA、职场上性别歧视的着装规范、被恶意泄露的性爱视频、更衣室里的摄像头……平日里上下班的道路也不得不面对的危机四伏，以为温馨甜蜜的家也有可能是痛苦的牢笼。
H24通过一系列由真实事件启发制作而成的短片，讲述着世界各地的女性在白天和黑夜中每一个小时可能遭受的困境。
由24位作者编写的有力独白，配合24位女演员的重新诠释。每一个四分钟的短片都曾是真实发生的事件。她们跟我们一样，是学生，是老师，是少女，是母亲，是向往着赛场的运动员，是上班路上行色匆匆的女白领，也有辗转求职各处打工谋生的女职员。她们也曾对生活满怀希望，也曾怀着憧憬踏入爱情。在H24里，她们独自面对镜头，背负着被男性强奸、虐待、骚扰、歧视或贬低的耻辱和痛苦，低声诉说着像诗篇一样的独白。
这些故事令人不安，但又因平庸更加可怕。故事的主人公也许就在你我身边，也许就是你和我本身。
这些发生在女性身上的灾难，仿佛是一场无形、漫长且难以对抗的病痛。在全球范围内，35%的女性遭受过来自伴侣或其他人的性暴力，在一些国家这一比例可达到70%；全世界有1500万少女（15-19岁）被迫发生性行为；每天，有137名妇女被其家庭成员杀害；只有不到40%的遭受暴力的女性会寻求帮助，而这里面只有不到10%的人会报警。
这些暴力如此普遍、如此平庸、如此不幸地每天发生。然而面对它们造成的伤害和死亡，人们往往选择保持沉默：亲人的沉默，邻居的沉默，移开视线的路人的沉默。施加迫害的人毁掉了女性的生活，却依然逍遥法外，很少因此受到谴责。
但H24并不仅仅是女性屈服于暴力和死亡的故事。
即使在这些普遍得足以让每一位女性产生共鸣的事件中，它依然讲述了那些不屈的灵魂，在遭受苦难之后抵抗、斗争、谴责和战斗。身为女性，我们直视痛苦，我们也可以挺身而出守卫遭遇苦难的每一位女性。我们也可以是打破沉默的人，将女性的命运掌握在女性自己手中。
“我们气愤于沦为报纸头条的妇女的命运。我们想让匿名者、受害者或反抗者发声，创造一个属于我们的故事的空间，让这些经历不再因时间的流逝而消弭。”
——瓦莱丽·乌雷亚，H24策划与总导演
“这部短剧中的女性并不仅仅局限在受害者的角色上。H24号召人们抵抗。这个系列的剧本、拍摄和图像处理必须展现这种反抗，这种不愿被视而不见的不服从的渴望。”
——娜塔莉·马斯杜劳，H24策划与总导演
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2023 film by Ellen Kuras

As celebrated conductor Lydia Tár starts rehearsals for a career-defining symphony, the consequences of her past choices begin to echo in the present.

Claire今年17岁了。她和她的家人一起在南非度假，但是她的家人突然在一场意外中消失了。她因为命运而逃脱了这场悲剧。一切翻天覆地，她被认为是她家人的死的凶手，于是她逃跑了并决定从此以后听天由命。在她的流浪奇遇的过程中，她燃烧了自己的生命，拥有掌握自己的命运的力量。

2020 film directed by Zoé Wittock

France, 1809. Captain Neuville is called to the front, leaving his future bride heartbroken. Her sister decides to write letters on his behalf to cheer her up.

Mélanie, 16 years old, lives with her mother. She likes going to school, her friends, playing the cello, and she wants to change the world. But when she meets a boy on the Internet and falls in love with him, her world changes as she is gradually recruited by Daesh. Sonia is 17 years old, and she almost did something irrevocable to “guarantee” her family a place in paradise. These teenage girls might be called Anaïs, Manon or Leila, and one day they all might go some way down the recruitment process. But can they ever come back from it?