Dark Forests

Focused on his neighbours, Le Ciel dans un jardin continues the conversation, begun with the previous film, which is imbued with melancholy in the face of the impossibility of returning. This future mourning gives a particular colour to his observation, a combination of indifference (the repetition of the days governed by the principle of subsistence) and acuity (the contemplation of small things and of lost moments). The value of the shots finds itself enhanced, from the tactile close-up that captures the elementary actions—cultivating, eating, smoking—to the widest frame, espousing with a final gaze the frontiers of world that is about to be incorporated by the filmmaker as an interior landscape, a mental object. - Emmanuel Chicon

Mégantic is inspired by the events that occurred during the Lac-Mégantic rail tragedy in 2013. This fiction follows the destinies of Méganticois marked by bereavement and trauma, but also by solidarity, courage and heroism.

Filmed during the Kirghiz summer pastures in the Tian Shan Mountains, the film describes the quarrels of shepherds living in the same tent as well as the solitude of the filmmaker, in their midst but lost in thought.

Shot behind the scenes, from the point of view of a subjective camera, the film shows the ethnologist’s ambiguous relations and negotiations with the people of his village in the mountains.

On a stretch of desert coastline in northern Chile where it never rains, seaweed collectors live on a shoestring and live life to the fullest, in shacks surrounded by garbage cans and driving rickety cars. A happy vision of the simplicity of the world.

They are just 20 years old and are fighting against the Islamic State in the Syrian Kurdish regions. In a region of the world where women normally have to walk three steps behind men, the fact that they are under arms together with their brothers is of particular significance. Their colorful scarves and their courage have made them famous.

A documentary with black-white imagery taken in West Papua (Indonesia).

Shot like a western without a gun, at a drunkard’s distance, the film takes place in New Mexico among an ancient Spanish community eaten to rack and ruin by rust, beer, and dust storms.

A poetic stroll that doubles as a lilliputian ethnography and Lilliputian ethnography, filmed downstairs in the streets of Paris. It's a kind of Eux et moi in reverse, with the filmmaker directing his camera his camera to the people of his village, whom he observes through the deceptively candid eyes of a distant friend, unaware of the city and the crowd, to whom he addresses himself pretending to wonder about things that are so simple that they seem endowed with a secret life.