Simon P.R. Bewick

Martin, a teenager with a keen passion for outlandish culinary experiments, along with his friend Charlène, a historian by blood, find themselves transported back to the Middle Ages after messing with an old toaster. Mistaken for wizards by the people of the time, the two friends must figure out what's going on while confronting familiar faces...

About roughly 130 men are imprisoned in the Detention Center of Casabianda, Corsica. Most of them were convicted of child abuse. The inmates spend their last few years of imprisonment working the fields of this wide agricultural domain.

The reappearance of notorious criminal Paul Sanchez becomes an obsession for a young police officer who will do anything to catch him.

Zou tells the story of a man with a missing leg who moves forward more intensely than an able-bodied man. The amputated leg, a phantom limb that he can still move in his mind, is the pivotal point of this story. At the same time a trace of the war that made him lose most of his family members and forced him to flee his country, at the same time a brake on his exodus that made walking painful and more laborious than any of his fellow travelers, it is also the fulcrum for his integration into a new territory.

Out in the suburbs around Paris, a specialized teacher, Josiane, is taking care of five children failing at school. There, they share their fears, joys and sufferings at school. 'In session do not disturb' introduces us to their world while they will learn to learn.

Eva flies back from France expecting a simple funeral. What she gets is a hunchbacked grandma, a furious village priest, and a coffin that just won’t fit. With the church refusing to bend and the body refusing to straighten, Eva is forced to navigate small-town absurdities, family pressure, and funeral logistics that defy common sense.

If there is one person Matthew Lancit can’t get out of his mind, it is his uncle Harvey. Dark rings around his eyes, pale, blind, his legs amputated. Like Harvey, the filmmaker also suffers from diabetes. He has the disease under control, but one question is always nagging at him: How much longer? His long-term (self-)observation reliably revolves around fears of infirmity and mutilation. He translates the feared body horror into film, stages himself as a zombie, vampire, a desolate figure. Lancit playfully anticipates his potential decline, serving up a whole arsenal of effects which – as video recordings prove – go back to his youth. It is not for nothing that the “dead” in the title is also reminiscent of “dad.” Because “Play Dead!” also negotiates his own role as a father.