Vacarme

Cathy, 6, is taken by a social worker to a foster home in the countryside, where she slowly gets used to the strict rules imposed by her foster mother Réjeanne. Fortunately, her foster father, Reynald, is kind and gentle with the girl and patiently helps her break through her shell. Kayla, 12, is sent to a group home where she gets to know Morgane, a rebellious teenager who’s planning to run away. At about the same time, Manu is released from the system on the day she turns 18, but she finds it difficult to adjust to her solitary existence outside of the system. All four meet up at a reception honoring a foster family with whom they’ve all previously lived.

A direct, uncompromising look into the complex machinery of Quebec’s youth protection services (known as the DPJ). https://lustitia.com/en/productions/dpj/

Every year in Quebec, 25,000 reports of children being beaten, sexually abused or abandoned are retained by the Directorate of Youth Protection. And nearly 40% of babies who die in the province to die because of the violence of their parents. This explains the fact that nearly 30,000 children are supported by the DPJ until the age of 18. But this government agency is in a position to meet the needs of young people? Journalist and documentary filmmaker Paul Arcand presents the testimonies of children and adult victims of abuse of all kinds, and interviews politicians, social workers and members of the judiciary on their perception of the problem. In addition, Arcand denounces the carelessness of a bureaucratic system that does not always seem to be concerned about the well-being of those for whom they are responsible.

A documentary about the difficulties of immigration, culture shock and the loss of social references that destabilize new arrivals. Arriving in a new country is the beginning of a difficult journey, full of trials and tribulations. An unprecedented incursion into the DPJ helps us to understand how these many pitfalls are experienced within families themselves.

A mother's unconditional love and care for her son and family is well portrayed in the film in a very sensitive way.

A Cincinnati college student breaks off his engagement to his wealthy fiancée after he falls in love with a backwoods Kentucky girl he meets at a party. She says she's 20, but he finds out she's 16 and married to an abusive husband.

Paris 1913. Coco Chanel is infatuated with the rich and handsome Boy Capel, but she is also compelled by her work. Igor Stravinsky's The Rite of Spring is about to be performed. The revolutionary dissonances of Igor's work parallel Coco's radical ideas. She wants to democratize women's fashion; he wants to redefine musical taste. Coco attends the scandalous first performance of The Rite in a chic white dress. The music and ballet are criticized as too modern, too foreign. Coco is moved but Igor is inconsolable.

The girl lends her lips to the boy who lends her a pair of eyes. Her lips become his voice as his eyes become her sight.

Yannick moves to a small, quiet town to study cinema. One day when he fell off his bike, he knocked at the door of the Beaulieu residence so he could clean the blood off his hands. But Jacques Beaulieu and his family had other plans for Yannick. Beaulieu is a righteous psychopath and fanatic chess player who wants to rid the world of evil. And even though Ian has done nothing wrong, he is beaten, tortured and tormented before Beaulieu makes him an offer: win at chess and he is free to go. And so Ian is now a pawn in Beaulieu 's game. A game in which he will either lose his mind or his life.

The film tells the story of a mother struggling to make ends meet on her own. Rising unemployment in the country leads to the breakdown of many families. Saliha and Şevki, who live in a shanty town, are one such family. When Şevki's unemployment is compounded by gambling debts, things become even more difficult for the family. Unable to tolerate her husband's indifference, Saliha eventually kicks him out of the house. However, after working as a cleaner for a while, Saliha cannot make ends meet this way. She is forced to ask her old friend Emel, who works as a prostitute, for help.

Rip is the World Wrestling Federation champion who is faithful to his fans and the network he wrestles for, but Brell, the new head of the World Television Network, wants Rip to wrestle for his network.

Justine is a nubile young virgin cast out of a French orphanage and thrust into a depraved world of prostitution, predatory lesbians, a fugitive murderess, bondage, branding, and one supremely sadistic monk. It's a twisted tale of strange desires, perverse pleasures and the ultimate corruption of innocence as told by the Marquis de Sade.

Sten Lehtoja, a married, middle-aged businessman, picks up a young hitchhiker, Elsie, while driving to his summer home. Elsie spends the night and becomes his mistress. Later during the summer, Elsie also begins an affair with Reino, the teenage son of a local storekeeper. Sten offers to divorce his wife, and Elsie, attracted by the prospect of a secure social position, agrees to marry him when the divorce becomes final. One night when the couple are in bed, Reino climbs a ladder and attempts to force his way into their room; he falls and breaks his neck, and to avoid scandal Sten hides the body. But the strain of guilt ruins the romance, and Elsie contacts the police, who arrest her lover.

Fresh off a toxic relationship, an aspiring author begins a whirlwind romance with the man of her dreams, or so she thinks.

Erwin wants to propose to Natalie, but encounters obstacles due to demands from his prospective in-laws. On the other hand, Koh Afuk urges Yohan and Ayu to have children soon.

When Aoi is gang-raped by her classmates and kicked out of her home by her own parents she sees no reason to continue living. Before she commits suicide, however, she receives an email on her cellphone from a man named Toshi addressed to a girl named Ai. The message simply thanks the girl for being alive, but this specific message has an effect on Aoi and she decides to keep on living. Without many options, Aoi resorts to everything from paid dating to porn to earn money and meets a lot of less than reputable characters. Throughout it all though she looks toward Toshi as her hope for happiness and the two form a relationship.

Guitarist Ko-chan is a mess of sexual repression after a childhood at the mercy of two elder sisters eager to use him as a guinea pig for their make-up skills. Bassist Gaku-chan keeps a bucket in the wings for whenever his nerves get the better of him, and drummer Momo-chan is doomed to forever carrying the botched childhood attempts at self-tattooing. It's not until this foursome is forced to look for an additional guitar player after Jin's dad burns his Stratocaster, that attitude and musical ability enter into the equation. Leather-clad, shade-wearing Tani (Tamaki), inseparable from his black Les Paul, is introduced as the king of R'n'R cool and Jinnai keeps him firmly seated on his throne throughout the film, retroactively proclaiming the guitarist, rather than himself, as the band's true hero.

Adapted from a sex-stuffed cult novel, LALAPIPO (a play on the phrase “A Lot of People”) follows divergent seedy strands of sexual and narrative spaghetti through the sticky Tokyo night. There’s a chubby freelance writer who’s so obsessed with masturbating to the sound of his upstairs neighbors going at it that he forgets to deal with his own love life and when he finally does have sex he is immediately filled with self-loathing. The upstairs neighbor’s story then splits off like an amoeba: she’s an office lady seduced by a “talent scout” who is falling down the sex industry ladder, moving from hostess, to massage girl, to private karaoke attendant. The talent scout’s story then splits off and runs in its own direction, revealing the sorry state of this young pimp’s soul. From there, the movie takes more and more time to consider the lives of more and more characters until the entire Japanese sex industry is filled with the wailing of lost souls.