Alexandre

Following the funeral of their friend Dédé, two septuagenarians, Mr. Paul and Bobby, meet up in a neighborhood bistro where they reminisce about the halcyon days of their football glory and their romantic adventures, particularly with Lola, the owner of the establishment. Around them is a young waitress, Bibi, who bears a striking resemblance to Lola, who is apparently absent: the young woman could well be the daughter of their former mistress, and if so, one of the two could be her father.

This is the story of the relationship between a rebellious young city girl, Adriana, and an old misanthrope, Bernard, in a remote valley in the Mercantour, a place of powerful natural beauty. Initially filmed according to the principles of a thriller, the film gradually transforms into a motionless journey evoking an initiatory tale: from renouncing petty hatreds, we move on to total immersion in an emblematic snowy landscape ruled by a white wolf. The encounter between these two lonely souls will lead each of them to a form of redemption: for Adriana, it will be through artistic creation.

70-year-old mountain farmer Adrien from Valais suggests a trip on the Trans-Siberian Railway to his friends. The taciturn mountain folk get on the train, but they never really let go. Nothing works without Jass cards and white wine. Only Adrien makes it as far as Beijing: For the stubborn farmer, the long journey ultimately becomes a journey to himself, to his own feelings.

Jacques asks a public writer to compose love letters for a beautiful stranger that he pretends he has just met.

This uneven comedy of manners concerns a young film projectionist (Jerome Ange) who sets out to find a marriageable woman. He sets his sights on two women he has lived with for nearly ten years (Kristin Scott-Thomas and Sylvie Orcier). For some reason, the projectionist encourages one of the women to hire a private detective (Patrice Kerbrat) to monitor his romantic activities.