From Oran to Almeria

An unemployed Algerian worker leaves Paris by hitchhiking. He soon found himself in Brittany and, seduced by the beauty of wild gorse, eventually established himself as a gorse merchant. But for problems with parking his little cart, he had a rough explanation with a law enforcement officer. The happy intervention of factory workers, the eager kindness they showed him, saved him from despair. This film is part of a trilogy "Them And Us" with the films "Les 3 Cousins" and "Techniquement Si Simple".

In a working-class immigrant neighborhood slated for demolition, Jo, the son of Ali, known as the Rescuer from the Algerian war, lives idle and delinquent, committing small assaults to pay for his drugs. One day, while attacking Slim's bar, he is arrested by Ben, a young beur cop torn between his roots and the imperatives of his mission to maintain public order. Giving in to the respect and friendship he feels for Ali, Ben agrees to release his son. But alas, far from calming down, Jo drifts deeper into violence, until the inevitable drama.

This film deals with the aftermath of the Algerian war of liberation. Georges Montero, an Algerian-born Frenchman, manages an olive canning factory in Oran. He travels to Paris for a cataract operation. Marinette, his sister, and Belka, his friend and a recent immigrant, want him to return to France permanently. Friction develops between the two friends as Georges is pressured to sell his factory. Friendship developed between Georges and his surgeon, who as a French Arab has severed ties with his culture and country of origin.

"For more than ten years, Algeria has been living a slow war, a war without a front line but having caused more than 100,000 deaths. It is this desert that Zina and Kamel – two young Algerians sometimes hallucinated and joyful, sometimes dejected and serene – will want to travel one last time before leaving it for elsewhere. Road Movie on the territories of a city, Algiers whose construction sites are in decline. Roma wa la n'touma will show that fleeing abroad is not is not a refusal of combat, but an obscure struggle against assignment. Tariq Teguia

A construction worker on a construction site in the Paris suburbs, Mehdi takes the bus to return home after work. Wishing to get off while the vehicle is stationary in a traffic jam, the driver refuses: while restarting, the bus hits the car in front of it. The bus driver attacks Mehdi whom he holds responsible for the incident, claiming that it is forbidden to “talk to the stagehand”. Mehdi is implicated in court and his lawyer tries to draw attention to the living conditions of immigrant workers.

Ali in Wonderland unveils the condition of immigrant workers in Paris in the 1970s. It is a cry of anger against exploitation and racism, uncompromisingly raising the role of the French state, the media, capitalism, and colonization in this system of domination that crushes those who suffer it. In this experimental essay on the condition of Algerian migrants in Giscard's France in the mid-1970s, every aesthetic choice has a precise and legible political motivation and gives body and voice to a figure completely absent from the experimental cinema of the time: that of the immigrant worker. Abouda is one of the children of immigrants seen in the film, and not a simple activist serving a cause, which is why the emotion of her experimental gesture, which she throws in the viewer's face, springs from a ferocity inscribed in her body, from an insatiable anger that inhabits her gaze.

Fleeing their war-torn homeland, forty thousand Algerians come to Montreal, Quebec in the 1990’s. Many are refused refugee status and are not allowed to study or work normally. Years go by, children are born and Canada becomes home. Then comes 911. Deportations begin.

In april of 1975, a moroccan fisherman disappears after being summoned to a Marseille police station. The next day, a young algerian thief is taken away by officers upon his release from prison. They share a lawyer, a young corsican communist who alerts a journalist. They throw themselves into an investigation and discover the existence of a warehouse on the docks where the police have been detaining immigrants before deporting them for over ten years. The discovery became a national scandal, before being suppressed and eventually forgotten.

Rachid Taha, rockeur sans frontières

NANTERRE, une mémoire en miroire

An old gypsy prophecy predicts the arrival of a messiah from a Roma settlement who will change the world. Rytmaus is born and gradually becomes the most famous rapper in Europe. Rytmaus decides to run for president of the Slovak Republic. Pišta Lakatoš will stand against him in the elections. Thanks to the sale of clean drinking water, Slovakia is becoming a world power that co-decides on the future of humanity with the biggest powers such as the USA, Russia and the EU. Even the devil Moloch gets involved in the game for the planet...

Robin, the first girl born in Cyberspace, becomes a virtual DJ for Brenda Plump's new virtual reality nightclub. However, she soon gains the attention of the leather-clad dominatrix XXX (pronounced "Triple X"), a cyber being who wants to enter the real world to turn everyone into sex-crazed maniacs. With the help of a band of psychic cartoon characters, Robin learns that her unique birth grants her special powers that help her face off against XXX.

In this unusual romance, hand-tinted sand becomes a metaphor for two souls as they join and separate. A lonely fish, hooked by an angler's line, encounters another in the same dire situation. As the two struggle, the physical connection moves deeper. Is it love or merely a will to survive?

The plot concerns a yeti who makes a pact with the devil to kidnap the most beautiful girl in the world. This turns out to be the Princess Lissi, who is clearly the Austrian Princess and later Empress Elisabeth of Bavaria, and much of the film is taken up with subplots related to the court and to the romantic relationship between Elisabeth and her husband. The film is thus a comic parody of the Sissi films.

Hands are restless, they break, they denounce, then they leave, guilty and innocent. Objects are absences from which ancient quarrels echo. Sometimes, a few happy memories resurface in the shells. A touch of warmth, enveloped in acid yellow.

At late 19th Century, the Argentinean Pampa is changing. Martin Fierro is a renegade that fights against the power and corruption that try to subordinate him and to take away his most precious value: freedom. With his strength and courage, Martin Fierro represents the fight for justice. Based on the most important book of Argentinean Literature, "The Gaucho Martin Fierro", the film intends to rescue the current value of the story and the epic character of Martín Fierro for an audience mainly young, especially students and families.

I remember the games I played when I was young. We were happy playing together, but, looking back, I realize I used the games to satisfy my own desires. It was a child’s selfcentered behavior. But adult lovers, too, display immature sides in their relationships. Consumed by self-love, they act like children. I have tried to illustrate this kind of love through the metaphor of children’s games.

An official animated short film was produced with Cartoon Network to promote the LEGO product line.

In 1944, Master Sergeant Robert Steven Savage was betrayed by one of his fellow soldiers, Krieger, a double-agent for the Axis Powers. He had Savage's entire squad killed and used him for various genetic experiments. Savage was then cryogenically frozen and sealed inside a secret bunker. 50 years later, G.I. Joe discovered the hidden bunker, Savage now has super-human strength, speed and agility and is in charge of the Screaming Eagles. Krieger is alive and known as General Blitz, leader of the terrorist organization the IRON Army. Sgt. Savage and his Screaming Eagles must stop him!

The impossible happens in completely random scenarios.