Ça a recommencé, l’émerveillement

African immigrants start working on a farm in Normandy and hope to open their own restaurant someday.

The journey of a young man as he begins an apprenticeship in the French countryside to train as a gardener. There he encounters a trio of men who will prove decisive in both his nascent career as a horticulturist and in unleashing his sexuality.

A young woman crosses a confined provincial town and its outskirts. Once at her destination, a strange mourning protocol awaits her.

A secret organization prepares to hack a data center. To remain anonymous during their meetings, the hackers take on the appearance of missing members of the organization.

I’m looking for Medea. I investigate what we know about her, what we don’t say, and what she teaches us about ourselves. A text emerges: Medea-Material, by Heiner Müller. We lend our voices to this character – perhaps this time we’ll be able to hear her.

“Love is not made to console, no doubt — it is made to save. But we know all too well that one is only ever saved once. And only for as long as that once endures.” Inspired by The Eternal Return, Michel Surya’s novel, the film is a portrait of the book itself.

Marta, Luc and Charlotte, aged twenty-five to thirty-years old, have a lot to share in the city of Paris: friendships, demands and refusals. Ideas grow in the occupied university departments. THE EPISODES - SPRING 2018 is so singular in its approach to existence and so sovereign in the way it establishes its own language that all attempts at defining, assigning a genre or a previously identified aspect of film, are doomed to failure. All we have to do is open up the dictionary: after all, that was Ponge’s reaction when confronting the unknown. « Episode. A work’s division including several parts, each forming a self-sufficient whole. A more or less striking moment in a lifetime. A set of actions, of events forming a whole and making up a striking moment in history or time. »

Paris at twilight, children playing in a square. When night falls, masked passers-by scurry about before returning home. In wide, static shots, decisively composed following the lines of streets and buildings, Mathilde Girard films the flow of people during lockdown as curfew begins – the erratic, perpetual movement of a fragmented people.