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Cassandre, 26, is a flight attendant for a low-cost airline. Based in Lanzarote, she’s always willing to take on extra hours and carries out her duties with robotic efficiency. On the side, she just goes with the flow and floats between Tinder, parties and lazy days. When she suddenly gets dismissed, she is forced to return home.
Formule 1 Hotels are ultra cheap establishments commonly found in peri-urban zones: a low cost way to “inhabit” the world. Behind the doors to the rooms, the uniformity of the space, reduced to the strict functional minimum, reveals the tension inherent in each human life: sedentary versus nomadic, excess versus restraint, routine versus survival. While the main character of Rooms Without a View is a tightly formatted hotel, its residents are not so easy to package. They use, abuse and cause mayhem in this sleep machine dream.
September 1940. Henri Marre arrives alone in Vichy as the authoritarian regime settles in. Broke, estranged from his family, and carrying copies of his self-published manifesto Notre Salut (Our Salvation), the 49-year-old is determined to secure what he believes is his rightful place in the new administration. In his writing, Henri sets out his patriotic convictions and his engineer’s methodology: efficiency above all. Claiming he wants to help save France after defeat, he does whatever is required to remain useful, serving the machinery of the new order with increasing skill. But he may be pursuing something more urgent: escape from his own ruin
Spring 2017, in between the two rounds of the French presidential election. Pierre, a 25-year-old scholarship holder studying in a big Parisian school, lives with 75-year-old Francine, who is disabled and wheelchair-bound. Politically and socially opposed, they are perplexed and disoriented as they witness the unfolding electoral spectacle. While waiting for the results, they engage with each other, as Pierre tries to take care of Francine’s body and she attempts to heal his voiceless resentment.
Program of two films: Rien sauf l'été by Claude Schmitz and Le film de l'été by Emmanuel Marre. Languid bodies in the middle of a garden, highway rest areas, flowers and gas stations, bike rides, birds chirping, a nightclub, a melon, a beer, a swim... with the sweetness and melancholy of any good summer interlude. These are the movies of the summer. Two beautiful escapes to take the time to live and the time to film.
It's a film of highways, tourists on transhumance, concrete picnic tables, queues for toilets, warm melons and carwashes. It's the film of a man who wants to leave and a little boy who holds him back. It's the summer movie.
In different Brussels living rooms and bathrooms, parents cut their children’s hair. This mundane yet intimate act reveals a world of emotion and connection. While the children resist or, on the contrary, completely surrender to the moment, parents conscientiously try to accomplish their task. Between scissors and clippers, silence and conversation, tender rituals unfold that reveal the bond between parent and child.
Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adele grows, seeks herself, loses herself, finds herself.
When four distant cousins inherit a 19th-century home in Normandy, they decide to visit and examine their family history. No one has lived there since the 1940s, and the cousins are intrigued by all of the items they find there, little things that help them to understand their ancestor, Adèle Vermillard. Jumping back and forth in time, they meet the mysterious Adèle, whose bohemian lifestyle, and her relationships with the leading artists of the time, changes their lives.
Sandra is a young woman who has only one weekend to convince her colleagues they must give up their bonuses in order for her to keep her job — not an easy task in this economy.