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La Belle Bête is a powerful study of the conflict between beauty and ugliness, hate and love. The story revolves around three main characters. At the center, Patrice, a beautiful but mindless youth stands gazing at his image in the water. Around him move his ugly sister Isabelle-Marie, and his frivolous mother Louise, the first lost in love and hate for her brother's beauty, the second seeing it as an adornment for herself. Into this small, obsessed universe come a blind boy and an elegant fop from the outside world. At once, the pattern breaks and events move forward into a terrifying denouement.

In April 1994, the middle-aged Canadian journalist Bernard Valcourt is making a documentary in Kigali about AIDS. He secretly falls in love for the Tutsi waitress of his hotel Gentille, who is younger than him, in a period of violent racial conflicts. When the genocide of the Tutsis by the Hutus in Rwanda begins, Bernard does not succeed in escaping with Gentille to Canada. When the genocide finishes in July 1994, Bernard returns to the chaotic Kigali seeking out Gentille in the middle of destruction and dead bodies.

At Christmas emotions erupt over his care as he is in an advanced state of Parkinson's disease. Caught in the middle is his wife. His son and grandson decide to brighten up his life knowing that this can hasten his death.

Élise's family fractures when her mother departs. Coco immerses himself in car repairs, Benoît withdraws, their father adrift. Élise becomes the unifying force during a trans-formative summer surrounded by nature's splendor.

Mistaken for a dangerous Islamist, Saadi - a regular guy who happens to be an illegal Arab immigrant - sets out on the most dangerous day of his life. A satirical and thrilling comedy where a wrongly accused suspect gets mixed up in a worldwide terrorist plot.

Twenty four hours in the life of a prostitute and her encounters with people along the way.

We hear a lot about male violence. But what about female violence? There's no question it exists, but because it generally takes the form of verbal or psychological abuse it leaves no physical evidence, and is usually unreported by the media, which tends to depict women as victims. Violence by women is perpetrated against men who don't report it and against children who don't speak out, and is neither harmless nor trivial. Through interviews with violent women and their male victims, Pied-de-Biche explores the flip side of conjugal violence.