With LE CONCOURS the director will delve into the daily life of the Parisian cinema school, la Fémis, where a specific Republican ideal of excellence is practiced and entry into which can be summed up as follows: "everyone's equal, but only the best get in..." Through the admission process, the hard work all year and the graduation exams, LE CONCOURS will establish a portrait of our relationship to excellence in the Art world and of one of the most prestigious art school in France. A place of culture where generations intermingle.
Late at night, the psychologist Eliane Hess is called to the hospital to take care of Yves, an eight-year-old boy, who just has lost his parents and siblings in a car accident. Eliane is both shocked and curiously drawn to the traumatized boy. As time goes by, she loses the professional distance to the patient, and when Yves' relatives begin a heavy dispute about the boy's future, Eliane makes an unorthodox decision, that throws her life off track.
A reclusive Bulgarian railway trackman finds millions of cash spilled on the tracks and turns them in to the police. When the transport ministry's head of PR Julia Staikova decides to use him as a diversion from a corruption scandal, his simple life falls victim to the grinder of bureaucracy.
The Nazi-cinema was a state-controlled industry, subject to rigid political and cultural censorship. At the same time, it aspired to be “Great Cinema”; it viewed itself as an ideological and aesthetic alternative to Hollywood. A German dream factory. This state-funded studio-based cinema followed industrial modes of production. It established its own celebrity star system and marketed itself with the latest, state of the art marketing techniques. The aim was to beat the US-cinema with its own tools. German cinema produced Nazi blockbuster of the likes of "Münchhausen", as well as NS films d’auteur such as “Opfergang” (The Great Sacrifice). Nazi-cinema thought big. Technically, it was executed to perfection. Cinema was meant to educate and entertain. It was industrially pre-fabricated to manipulate the people co-opt the masses, stir up sentiments of hatred and consent, self-sacrifice and moral cowardice. Perhaps, the feelings evoked by these films were feelings of self-delusion, false feelings. It is only in this vein that the impact of Nazi cinema can be understood. It was popular and satisfied the desires of large sections of society. In its days, millions of people flocked to the cinemas. How much Hollywood is there in Hitler’s dream factory?
This film follows its two protagonists Anne and Leo like a wandering companion. Both in their early thirties, they are close friends but not a couple. What connects them is their urban background and their cosmopolitan attitude. Where they differ is their completely diverging approach to the little things in life. Their days and nights are full of possibility and yet nothing presents itself as inevitable. Anne is a successful director pursuing her career with singleminded determination. But she doesn’t have much of a social life. Leo’s head is in the clouds. He wants to be a photographer and is yearning to love and be loved. Their personal encounters and inspirational adventures cause them to realise the limitations of their varying approaches to life. Millennials is an atmospheric trip into the ‘sentimental education’ of two individualists that describes both their failures and their moments of personal happiness. An urban fairy-tale with a documentary feel, suspended in a strange limbo and oscillating between the here and now and a sophisticated narrative structure.
Our last Tango (Un tango más)
The life and love story of Argentina's famous tango dancers Maria Nieves Rego and Juan Carlos Copes, who met as teenagers and danced together for nearly fifty years until a painful separation tore them apart.
Jonathan Vogel (Guillaume Depardieu) would like to turn back the clock and undo the accident that led to his disability and destroyed his life. When he learns that Stivlas Karr (Carlo Brandt), a well-known professor and geneticist, has developed a gene therapy for regenerating the human body, he makes an appointment with him for some clinical tests. But the therapy doesn’t go according to Professor Karr’s plan and leads to unexpected results. Jonathan, whose life is now in danger, has become aware that there is only one person who can help him: Alice (Alysson Paradis), the professor’s daughter.