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A diplomat's son who lived abroad faces deportation from Lyon. Working at a Muslim funeral home while seeking legal status, his journey with the deceased leads to self-discovery.

In an exploration of self-discovery, Victoria, Athena and Aamina navigate womanhood through loss and introspection, weaving past regrets and future aspirations in a poetic documentation of embracing true selves.

The implantation of African traders in Guangzhou is a recent phenomenon, on which Marie Voignier reports through her interlinking portraits of Jackie, Julie, Shanny who have come to set up their business on site. Amidst the monstrous accumulation of merchandise on the endless markets of the megacity, the film follows these African businesswomen grappling with the globalised Chinese economy.

Vikken is transgender. He's about to take hormones for the first time. He records his voice that will disappear, and summons the figures of the past from all over the world for an intimate dialogue with himself.

Reviving the traces, yellowed by time, of a life carefully filed away in archives; giving body to one of 20th century Poland's most beautiful poetic voices; building a memorial and a vibrant tribute in the most rigorous and masterful documentary tradition... These are the promises kept by Not all of me will die. Zuzanna Ginczanka was shot in 1944, at the age of 27, just as she was gaining recognition in Polish literary circles. Joanna Grudzinska starts out from this tragic death to connect shots of today's Poland to the story of a life whose dazzling path takes us backwards to Nazi barbarism, then to the intellectual profusion of the 1930s, the tale of a war foretold - there's too much coming: either love or war - and then to the adolescent, rebellious and preoccupied by the first stirrings of the body of a woman. Joanna Grudzinska's striking modus operandi is to inverse the course of events. She goes back in time, from death to life, through the knowledgeable eyes of researchers and experts. The interviews, moving and scientific, are echoed by tight framing on the faint handwriting in diaries and the outdated fonts of the press cuttings of the period. The breath of her poetry influences the documentary material, seeping into the gardens of Lviv and the streets of Warsaw, mingling with the rustle of nature. Not all of me will die is a film haunted by the revolted and sensual words of "The Star of Zion", whose vitality and modernity are loud and clear. Teenagers read the poems aloud here and there; women chant their rights in protests. As an ode to freedom, this vitalist, feminist film Not all of me will die, whose title refers to the 1942 poem known as Non Omnis Moriar, looks at modern-day Poland that, far from praising the gesture, has chosen to censor it.

Their music is a surge of electric rock. Their lyrics are wild poetry. Accompanied by four musicians, Stanislas, Yohann, Aurélien and Kevin are the singers of the band. They are about twenty years old, with a stage presence and a singular style. They blow the wind and howl anger.

"I come from a people, the Fang, where the dead never leave the living. But since we have become Christians, we are no longer able to hear them." Lost between the here-and-now and the beyond, Natyvel Pontalier's spiritual quest in Gabon takes her back to her family's roots.

Aliona's father, a silent dissident and Chernobyl engineer, mysteriously disappears into the sea one day. Twenty years later, Aliona leaves her country, Belarus, to write a novel about this story, in a language other than her own.

Stands in the paradoxical crossroads between a lively ongoing revolution energy, the momentum of a departure to Europe and the violence of a declined welcoming. The film searches the existence of a sensitive frame at a time of rupture.

After Burkina Faso's October 2014 popular uprising, the young poet Bikontine starts to question his dreams of seeking a better life in the West. He decides to go meet his fellow citizens along the country's only rail line. From South to North, through cities and villages, he learns about their dreams and disappointments, confronting his poetry with the realities of a rapidly shifting society. His journey ultimately reveals the enduring political legacy of storied former president Thomas Sankara, assassinated in 1987 and known as the "African Che Guevara."

In a surrealist decor, a Bulgarian state television programme for young people shows a female journalist posing philosophical questions to workers, hippies, and political scientists: "At the end of the day, what expectations are the most important? Those are fulfilled or those that aren't?" We are in 1989 and the Berlin Wall has just fallen, and for the first time Bulgaria sees its people swell the streets with youthful energy, prompted by a shared dream - Democracy. Building on the recordings of "Variant M" - a unique TV programme from the 1990s, the film Every Wall is A Door explores these process of struggle and dissidence, posing questions about the meaning of failed revolutions.

Libreville, Gabon, 2016. Christ, a young boxer, trains relentlessly by day and earns his living as a doorman at discos by night. At the same time, another combat is being played out, or played out again -that of the presidential election. As in other African countries recently, there was hope for a democratic transition this time: it is possible that Ali Bongo, the outgoing president and son of Omar Bongo, president from 1967 until his death, may not be re-elected for a second term. By filming simple scenes in Christ's daily life-the training sessions during which he has to stay consistent, the intimacy of his relationship which often involves disputes and reconciliation-Amédée Pacôme Nkoulou suggests more than he shows. His film follows a certain practice in African film that takes care to circumventing taboo or censorship. Politics is merely a backdrop from which Christ seems completely detached. It is discussed only at night or on the TV sets that remain switched on while everyone sleeps. And yet, it is indeed what governs the life of Christ.

In the heart of a Corsican forest at night, a woman dreams of hunting. After killing, as she looks into the eyes of dead wild animals, she can see faces. Those of people who in real life are about to die. This is an ancestral gift that was passed on to her, and comes from the depth of the island. Even though today, no one seems to care about her visions anymore. Because she is a wild woman. A mazzera. There is only this one shepherd who is still paying attention.

Two Athenians flee their city to escape their debt. Guided by mysterious calls from crows, they travel through the city before reaching an area of passage, where they are drawn into an ancestral forest: the Kingdom of Birds. Between a contemporary Athens marked by crisis and the primary forest of La Gomera, the film is a tale of loss and re-enchantment.