Gab and Driss, childhood friends on bad terms since they left the orphanage, now have opposite lives - one is a cop with the IGPN, the other a fixer for thugs. When their first love dies in a suspicious accident, her 17-year-old daughter, Leïla, takes Gab's gun and sets off on the trail of a powerful organization willing to do anything to cover the case up. Forced to team up, the orphans must stop her before she crosses a line she can't return from...

该片以阿尔及尔最后一任埃米尔萨利姆·图米的王后扎菲拉为原型，讲述她为了保卫城邦而奋起抵抗海盗的故事。
在1516 年的阿尔及利亚，传奇海盗“巴巴罗萨”奥鲁奇·雷斯从西班牙人手中夺取了阿尔及尔，称霸一方。坊间流言四起，说他杀害了自己的盟友城主萨利姆·图米。尽管困难重重，萨利姆·图米的妻子扎菲拉王后决定站出来抵抗。在真实历史与传说之间，影片讲述了这位传奇女性为阿尔及尔忍辱负重，在个人和政治纷争中挣扎的一生。
入围第79届威尼斯国际电影节威尼斯日单元。

2022 film

Since 2014, in France, Restorative Justice has offered victims and perpetrators of offences the opportunity to dialogue through secure systems, supervised by professionals and volunteers such as Judith, Fanny or Michel. Nassim, Issa, and Thomas, sentenced for theft with violence, Gregoire, Nawelle and Sabine, victims of home jacking, robbery and purse snatching. Also Chloe, victim of incestuous rape, all engage in measures of Restorative Justice. On their journey, there is anger and hope, silence and words, alliances and heartbreaks, awareness and regained confidence. And at the end of the road, sometimes, reparation.

故事探索了两个女人之间出人意料又充满不快的关系，在从伊斯坦布尔到巴黎和伦敦的路上，她们进行着一场关于真相与谎言的致命游戏。一个女人拥有一个秘密，另一个女人的使命就是在数千人丧命前揭晓这个秘密。

2023 film by Sing J. Lee

A Flower in the Mouth is a film diptych about time running out and how to live through the days that remain. The first act, filmed as an observational documentary in the world’s largest flower market, follows millions of bouquets transiting through a cavernous refrigerated hangar to be sold at auction, an industrial process at once both beautiful and terrifying. The film transitions to fiction in a second act freely adapted from a Pirandello play. A man with a flower-shaped tumour on his lip accosts a traveller in an all-night café. Their seemingly mundane conversation becomes a metaphysical monologue as the man, feeling death approach, clings to life by scrupulously observing its activity, watching reality in every detail, as if to fill the gap between himself and the rest of the world.

On the verge of an historic election victory, an Arabic candidate for the French presidency sees his ambitions threatened by a perfect storm of religious, cultural, and family politics.

Hours after the tragic death of their youngest brother in unexplained circumstances, three siblings have their lives thrown into chaos.

Nour, a 14-year-old boy, is enjoying the beginning of the summer holidays in the South of France. He is the youngest of four brothers. They live together in a council estate, taking turns caring for their mother who is in a coma. She used to love Italian Opera, so Nour plays it for her, and develops a passion for that music. Between community work and rising tensions at home, Nour dreams of escaping to a faraway place. When he crosses paths with Sarah, an Opera singer teaching summer classes, he finally finds the opportunity to come out of his shell and explore new horizons.

Margaret, 35, has a history of violent behaviour which has cost her a romantic relationship. She has moved back in with her mother Christina, a fragile, immature 55-year-old woman who blames Margaret, her firstborn, for ruining her dreams of a career as a concert pianist. In a state of unbridled fury during an argument, Margaret hits Christina. The law steps in, further complicating family dynamics. As she awaits trial, Margaret is forbidden from coming into contact with her mother or within 100 metres of their home. This only intensifies her desire to be closer to her family. Every day, Margaret appears at this 100-metre threshold to see her 12-year-old sister Marion and give her music lessons.
In La ligne, Ursula Meier continues her exploration of atypical family constellations, redefining the idea of a family “circle” to consider its topographical dimensions. Her astonishing lead actor is literally wrenched from this circle and from her mother in a manner reminiscent of the pain of childbirth. One of the film’s remarkable achievements is its shifting mood which, echoing its protagonists’ emotional insecurities, slips back and forth between comedy and drama without warning. The tonal choices and directing are assured and as striking as, well, a punch in the face.

Marianne leaves Abel for Paul, his best friend and the father of her unborn child. Eight years later, Paul dies and Marianne returns to Abel. However, things have changed for the both of them and feelings of jealousy surround their new relationship.

Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.