Marcial Di Fonzo Bo

While on a trip to Paris with his fiancée's family, a nostalgic screenwriter finds himself mysteriously going back to the 1920s every day at midnight.

Paris, France. Fred and his colleagues, members of the BPM, the Police Child Protection Unit, dedicated to pursuing all sorts of offenses committed against the weakest, must endure the scrutiny of Melissa, a photographer commissioned to graphically document the daily routine of the team.

A married couple lives in a state of mutual loathing, contemplating divorce until they invite their younger neighbours over for a drink. In that moment, the happy young couple is dragged into the bitter resentment and psychological warfare of the older pair.

This is a combination coming out and first love story. The swimmer and diver Lucard is interested in attractive Martin. The film follows the characters' coming out with all its difficulties, the bitter-sweet pleasures of first love and the dreadful moment when one comes down to reality and realizes that one's beloved friend has a hard way to go yet. The positive message the film tries to transmit is the somewhat common motto "Live each day of your life as if it were your last."

Chantal, an advocate involved in defending homeless illegal immigrant, decides to refurbish her flat. Following her convictions she calls Columbian workers led by an unforeseeable architect. In the mean time a former client decides he is in love with her, her son and daughter are becoming nearly homeless since the flat's walls are demolished, the architect has new plans every day, an irregular workers fall in love with Chantal too and dance with her daughter, Martin (the son) still continue to roller blade around... Could the works go forward in this mess?

On the spur of the moment, 30-year old Alain gives up his well-paid job as a tester of computer games, but is uncertain over what do next. He takes up the offer of a place on a course to learn how to operate a bulldozer, although this means spending time away from home. During his training, he is paired up with a child-like younger man, Manu, who is passionate about wanting to drive a bulldozer but has no aptitude for the job. While his marriage starts to fall apart, Alain finds himself becoming more dependent on his relationship with Manu.

Three French sisters have their lives interrupted and their relationship called into question when their father returns to visit 15 years after having abandoned them and their now-deceased mother. Each responds differently to his return according to how her character evolved from her relation with him and his unexpected departure. They eventually realize, though, that the somewhat elderly father is quickly losing his memory and his ability to function, and the youngest daughter's decision to accept him again while she can ends up permanently changing her family ties with her sisters.

By choosing Victor Hugo for his first major theater production, Christophe Honoré surprises and intrigues. Angelo, tyrant of Padua surprises even more: little staged, this piece is almost incongruous. For him, it is a text whose clarity hides many secret doors and dark and ambiguous dungeons