Para One

On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

Ten-year-old Laure isn't like most girls. She prefers football to dolls and sweaters to dresses. When Laure and her family move to a new neighbourhood, local girl Lisa mistakes Laure for a boy. Indulging in this exciting new identity, Laure becomes Mickaël, and so begins a summer of long sunny afternoons, playground games and first kisses. Yet with the school term fast approaching, and with suspicions arising amongst friends and family, Laure must face up to an uncertain future.

After the death of her beloved grandmother, eight-year-old Nelly meets a strangely familiar girl her own age in the woods. Instantly forming a connection with this mysterious new friend, Nelly embarks on a fantastical journey of discovery which helps her come to terms with this newfound loss.

Set during a sultry summer in a French suburb, Marie is desperate to join the local pool's synchronized swimming team, but is her interest solely for the sake of sport or for a chance to get close to Floriane, the bad girl of the team? Sciamma, and the two leads, capture the uncertainty of teenage sexuality with a sympathetic eye in this delicate drama of the angst of coming-of-age.

Oppressed by her family setting, dead-end school prospects and the boys law in the neighborhood, Marieme starts a new life after meeting a group of three free-spirited girls. She changes her name, her dress code, and quits school to be accepted in the gang, hoping that this will be a way to freedom.

Nicaragua, today. Eleven-year-old María lives with her mother Lilibeth on the edge of an immense rubbish dump. Their future depends on selling a litter of purebred puppies to a local gang member. When the deal falls through, Lilibeth has to move to the outskirts of the city and leave María to work at a recycling factory. The days go by with no sign of her mother's return. María feels abandoned, confused and angry. One night she meets Tadeo, a kind and romantic boy determined to help her find her mother.

True to their name, Slave to Sirens — the first and only all-woman thrash metal band in the Middle East — are utterly magnetic. Amid a backdrop of political unrest and the heartbreaking unraveling of Beirut, five bandmates form a beacon of expression, resistance, and independence. Director Rita Baghdadi follows founders and guitarists Lilas Mayassi and Shery Bechara as their tenderness, and sometimes bitterness, for one another grows in ways both unexpected and deeply moving. Joined by vocalist Maya Khairallah, bassist Alma Doumani, and drummer Tatyana Boughaba, these women negotiate their emotional journeys through young adulthood in tumultuous circumstances with grace, raw passion, and a ferocious commitment to their art. Their grit is tested as they grapple with the complexities of friendship, sexuality, and the destruction around them.

In this film, Jean-Baptiste de Laubier squarely doubles this hypothesis of Chris Marker: the traces of the times are no longer contained in the brain of a survivor of the disaster but in computer memories. History having disappeared, carried away by the extinction of men, machines tell stories with the images that men have bequeathed to them. Like those of this narrator who could not, him or anyone, survive the final virus but who left on a hard drive images shot from the time he was still living. His travels, family, love. Life. This life and its memory that our computer heirs sing about make it look nostalgic, a human feeling that we did not know they were programmed to feel.