Et que l’espérance est violente

Moments and aspects of the life of a contemporary married couple undergoing a metamorphosis.

Trapped in an old folks home where people keep going missing, an ex-cop must overcome his Alzheimers to find out who is killing people in this jigsaw thriller.

This complex allegorical tale tells the story of man’s quest for spiritual meaning. When God enters the body of 1980s filmmaker Simon Donnadieu, his wife Rachel realizes that something has gone awry, but chooses to remain faithful to her erratically-behaving husband.

From what was to me a gift of friendship day: a book makes some of Rosa Luxemburg's prison letters written by her friends Sonia Liebknecht and Mathilde Wurm between July 1916 and October 1918. And all the jingles who composed this period: songs of birds, plants, colors and sounds passages. Those for events in the events of the being-locked. As for the outside: October, World War Revolution, The emigrant and Chaplin The Adventurer, The affliction flowers and Klee's zoological garden. Appearances / disappearances, present stories, their intertwined. Destinies.

1986, a young boy tells you about Bougie, his city of birth, and asks you to go there because he know he will never go back. It is in Algeria, in Kabylie. 2011, you are invited there and you go as a silent promise.

Sometimes the Mediterranean cries as it dances, sometimes it gives birth and drowns. Cradles, tombs, it is ours, from the sigh of the Moor in Granada to the insurrections of Montfermeil in Seine-Saint-Denis, from the destiny of Palestine to the mountains of Kabylie. Perhaps the time has come to speak of this sea in order to glimpse what we will do when the war is over.

A documentary about the life and career of Maurice Pialat produced by his widow, the accomplished film producer Sylvie Pialat. The film interweaves clips from his films with interview footage of Pialat, who speaks of growing up as an only child, his interest in painting, his early influences in cinema from Yasujiro Ozu to John Ford, his disaffection with the French New Wave, and the theme of abandonment in his films. Pialat’s remarks offer insights into his aesthetic strategies and hint at his reputation as a challenging, irascible director, known for having pushed his actors to deliver raw and powerful performances.

There is no denying that autobiographical intentions and introspection have their pitfalls. But a man's voice off screen sets the tone from the start: "There is no such thing as a private diary. The very expression is nonsensical." No chance then to see outpourings, confessions or explanations.