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- Théo, Lucie, Louisette, Hervé or Benjamin meet for months at the Charcot pavilion, in the Cadillac psychiatric center. Through their exchanges and their way of living in everyday life, they express the test of confinement as the fantasy that animates them. Their painful or funny escapes invite to go beyond the walls that enclose them.
- 1962, at the end of the Algerian War, Algerian independence activists are released from Rennes prison. For one night, filmmaker Yann Le Masson films them. They tell him their vision for the future of Algeria and the place women must occupy in the new society to be built. Fifty years later, with the soundtrack missing, Raphaël Pillosio sets out to find these women. Two deaf people set about lip-reading the women filmed by Yann Le Masson, revealing snatches of sentences, words cut short by the camera's shifts. An investigative film in which the few activists still alive discover their old testimonies and tell us their silent story. The reconstruction of the lost soundtrack will remain in suspense; no happy ending will come to absorb the absence, to cancel the ferocious operation of time. An essay film about cinema that depicts their disappearance, and forever keeps them alive.
- Nuns murdered and buried in a mass grave. Catechism instructors shot in their own homes. An archbishop murdered in his cathedral while performing mass. For decades, Liberation Theology, a grassroots branch of Catholicism that stood with the poor and oppressed, played a powerful and influential role in Latin American revolutionary movements. Its fundamental tenet, Nicaraguan theologian and journalist María López Vigil says, is that God is not neutral, and is on the side of the poor. And because of that, its practitioners were targets. To the US, Liberation Theology was more dangerous than communism. To an increasingly conservative Vatican, it was a movement to be suppressed. Now, decades after the period of revolutionary ferment in Latin America, THE GOSPEL OF REVOLUTION travels through the region, meeting key figures and tracing the history of the Liberation Theology movement. Through powerful archival footage and contemporary interviews, the film shows how these radical Catholics fought injustice alongside peasants, workers, and Indigenous people, refusing to accept poverty and oppression. Liberation Theology stressed structural change and mutual aid, in contrast with today's more self-focused evangelical movements. At a time when evangelical Christianity is on the rise and associated with conservative politics, THE GOSPEL OF REVOLUTION serves as a powerful reminder that it doesn't have to be this way.
- An atheist, Iranian filmmaker Mehran Tamadon managed to convince four mullahs, all believers in the Islamic Republic of Iran, to come and stay with him for two days and engage in discussion. In this confined space, daily life is combined with debate, an unremitting demonstration of the problematic issue of how to live together, when each side's understanding of the world is so contrary?
- In the Landes de Gascogne forest, bird cages are hoisted up to the tree tops with pulleys. A man on watch in a large low hut camouflaged by pine needles awaits the opportune moment to pull the strings. A strange and fascinating woodland theatre... Bucking all commentary, Marine de Contes depicts a practice in all its ritualistic complexity. A city dweller and a woman, so doubly an outsider, she holds her breath along with the small group of attentive watchers. Without reneging on its status as an ethnographic documentary about the techniques, space and vocabulary of wood pigeon hunting, THE GAME also takes an interest in the community that the sport sustains, in an identity that binds generations and in the distribution of the sexes (women visibly are only passers-by). Waiting is an integral part of the hunt, filled by learning - even in one's eighties - how to play Candy Crush on a smartphone, or by telling stories in the Gascon dialect. The waiting is all the more fruitful for the filmmaker as it soon appears to be the mirror of her own documentary filmmaking: when you film without a scenario, you surely also set up a dispositif that acts as an "event-trap", capable of closely espousing the image and sound of an elusive passer-by's sudden intrusion into the frame. The increasingly loud and disquieting noise of a pine tree being felled suggests that wood pigeon hunting will soon be no more than a folkloric memory. A hand-over - at least metaphorically speaking - has taken place.
