Laurent Ruquier, on ne demande qu'à le connaître

New light is shed on the complex relationship between Romy Schneider and her mother Magda, a German film star of the 1930s admired by Hitler - who welcomed her and her daughter to his chalet in Berchtesgaden.

This documentary explores the inner life of François Mitterrand from a unique perspective: that of the writer he never ceased to be. From bookworm child to prolific author, from his brilliant speeches to his literary friendships, François Mitterrand's life cannot be separated from the literary world. His daughter Mazarine Pingeot undertakes to read the texts left behind by her father.

A grandson shows his grandmother how to navigate an iPad 2 full of clues for solving a puzzle. Over a phone call, she recites an email she wrote seven years prior.

Valomanden

Sankara

It is the story of an encounter, that of two men, that of a coffin meeting its hearse, of death inviting itself into life or perhaps of life inviting itself into death. This encounter follows an advert on Leboncoin: “Solid oak coffin, varnished. Excellent condition. Large size. Its particularitý is to have the place for the legs embedded. It is not padded inside. Does not fit in an oven, hearse or traditional vault. Difficulty to get through doors (…)”

Documentary about what makes a house a home.

Két arckép

Once upon a time there was a morning, noon, evening and night when the inseparable shadows of man told us about memory... Interview with Ousmane Sow, life sculptor, for the first part of a series entitled Black Memory.

Andreas Gabalier – 10 Jahre Volks-Rock'n'Roller: Das Portrait

Metzer 58 play Punk. They were founded in a meet-up at Lebenshilfe Münster, an NGO that provides housing and other services to people with disabilities. The band consists of disabled people and able-bodied people. That doesn't really affect the topic of their songs or the amount of chaos and excess at their gigs, though. In this documentary, director Tobias Stiegler follows the band on tour and paints an intriguing portrait of Metzer 58

Enrico Mattei, le rebelle du pétrole

A man tells the story of his three cats.

A self-narrated portrait of a Polish immigrant in Winnipeg whose unglamorous job keeping streetcar switches working reveals dignity, resilience, and pride in everyday labor.

7-year-old Sasha has always known that she is a girl. Sasha’s family has recently accepted her gender identity, embracing their daughter for who she truly is while working to confront outdated norms and find affirmation in a small community of rural France.

In track and field he’s remembered as The Greatest. Athletics' first commercially global star. Away from the spotlight, his is a life often misunderstood. Carl Lewis did it his own way - unwilling to conform to what the US expected from its athletes. Lewis won nine Olympic gold medals across four Games and was voted “Sportsman of the Century” by the International Olympic Committee. Yet he refused to be pigeonholed and, in doing so, he inspired change on and off the field. I’m Carl Lewis! delves into the consequences of his uncompromising drive.

La bande à Fifi : plus besoin d'Alibi

In a nursing home, a young man visits his grandmother. As she constantly repeats that she wants to go home, his grandson visits her now empty apartment, seeking to capture memories of a fading past.

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

In this portrait film, we meet Inger Christensen in her apartment in Østerbro, Copenhagen, where she tells of her life and work, and reads excerpts from her major works.