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In 1986, a concerned young couple ponder the best way to make love for the first time as the radioactive Chernobyl cloud looms over Europe.

Behind-the-lines documentary filmed by World War II correspondent Jack Lieb. Most of the footage shows areas already cleared by Allied forces as they made their way to Germany.

A poor vegetable peddler in Paris runs afoul of the law and finds himself ground up in the cogs of the corrupt French judicial system.

A documentary on a 40-year-old orangutan that is locked behind bars.

The viewer is invited to a visit of the amazing display of films, projectors, posters and vehicles, some of which unique, collected by two enthusiasts, the late René Charles and Guy Coursaud, then stored in a large warehouse in Angoulême. Besides René Charles' widow and Guy Coursaud himself, a couple of specialists comment to light up your lantern.

Boris Vian. A novelist? A songwriter? A playwright? A poet? A trumpet player? A music publishing company producer? A singer? A visual artist? An engineer? Well, this man was all of that, without being a Jack of all trades as he was often accused of being. For what united all those various activities was a way of being, what could be called his "jazz attitude". Vian's passion for this style of music indeed inspired his style in all the categories he covered. It even dictated his relation to life and death.

Next to Rennes men's prison, as next to almost all the prisons in France, there a Family Support Centre for the prisoners' families. Visitors go there before and after a visit. They come back, every week, sometimes three times a week. They wait. It is a space of its own. Visiting is time consuming. They always arrive early. If they are a few seconds late, the door of the prison will remain closed. So they wait, to be sure to be on time, to be let in. The prison rules infringe upon this place, a passage between the outside and the inside, where all feelings are amplified: frustration, anger, hope, desire, fear, passion... To have the strength to go there, you must be so deeply rooted in life that you can breathe life into this inflated waiting time.This film is about life in that place. It is also an echo of what prison is made of. By choosing to remain exclusively «next door», the film paradoxically offers a direct approach of what the carceral reality is. The hidden side of imprisonment, life outside, without the other. But definitely life, not a subsitute.

The life of Jacques Fath, a star of the french Haute Couture who died in 1954, aged only 42.

Delivering a continuous flow of urban landscapes' digitally reworked images where passers-by are seen as anonymous silhouettes, the film offers a poetic monologue commentating on a disenchanted vision of the ghostly ballet of modern life.

Accompanying video segment for the multimedia presentation of Pascal Auger and Spanish contemporary music composer José Manuel López López's work "La Céleste" for live percussion, pre-recorded audio sequences and video installation.

Follows an ordinary day in the life of three Santas at the Printemps Haussmann store, at the Beaugrenelle Shopping Center, and at Les Halles. The film concludes with commentaries by Mr. Baudot, curator of the Santa Claus Museum in Paris.

A lonely man in the anonymous crowd recalls his difficulty to strive in the wake of the most dire hours of contemporary history. The shadowy memory of the Shoah hardens the daily life where one seeks, desperately, a lightness forever lost.

Yvonne Netter, 93 years-old, evokes her feminist combat in the Twenties and her fight for the women's voting rights.

A portrait of Bouda, a 30-year-old young dancer, clandestine for life, a victim of the so-called "double punishment" law who, upon leaving prison, expels children from immigration to countries of origin.

Filmed over the course of 30 days, in 30 continuous-shots with a cell phone, this diary-like film explores the story of a lost little white dog, who meets people and animals, discovers new places, and keeps going through his everyday life in real time, as he searches for what lies behind the appearances of the trivial, experiencing chance and necessity. In the end, the viewers, divided in small groups, are invited to participate in a film workshop and to shoot a short sequel or a commentary to the film: the 31st sequence-shot. The film is therefore completed with an additional 18-minute sequence.

A collection of ten 6-minute short films entirely shot with a cell phone, divided into two thematic concepts: 'my twenties today' (five contemporary films) and 'my twenties yesterday' (five retro-flavored shorts).