Back In The Ussr Saison 1

The second 'Front and Back' film.

The third 'Front and Back' film.

The fourth 'Front and Back' film.

The fifth 'Front and Back' film.

The final 'Front and Back' film.

An idiosyncratic personal reflection on a mythical image of masculinity in cinema and the clash between cinematic representation and real life. Endlessly repeated shots of aeroplanes and paratroopers taken from Alexander Dovzhenko’s film Aerograd (1935) and an absurd anthem to mythical masculine powers are confronted by home video footage with a much less heroic intonation.

This film tells the story of a war in Tibet in 1912 through information and descendants of the Western Expeditionary Army.

The last few years, thanks to the Internet, Greek stand-up comedians have managed to stand on their own feet. And here comes this documentary and the vision of Kostas Maliatsis Salas. Appreciating unconventional humor and without fearing censorship, Kostas has made a name for himself as a talented comedian via a career-building online activity rather misconceived in our country: making videos on YouTube.

In a country where theocratic and inquisitive rituals of the collective unconscious serve the sacrifice of trans lives, “Until The Light Comes Back” is a ritual film that asserts the power of its protagonist over death as a mobilizing force, an enchantment spell and a rite of contradictions. This is because this is a film that understands contradiction as a core element in film characters and narratives to produce, like magic, other dimensions of reception.

It is spring and grandma Margara teaches her four grandchildren how to plant in little flowerpots. Three of them decide to fly away from the family patio they live in and go out to discover the world. Years pass, grandma gets older and those who left are present, in their own way... but never like the ones that stayed. Distance might not bring a return and people can come back or not. But spring, yes, spring will always come back.

We learn about arbitrary rule under the dictatorship, the torture, the ill-treatment in prison and the plight of the Tupamaro hostages, told in the words of former political prisoners, psychologists and family members who had their lives turned upside down in a raid, or who suffered the anguish of searching for someone who had been “disappeared”.

With its obvious simplicity, the film’s title happens to set the mood of the film, or at least its guiding principle: staying anchored in everyday life. More precisely, the life of Maria José and Norberto, who have been married for 35 years and who live in Contagem, in the suburbs of Belo Horizonte. Their marriage is on the rocks, which leads their two sons to also wonder about the future of their own relationships with their wives. The story is quite ordinary. How can one capture such an impercep- tible shift in the heart of the banality of things, only made more noticeable by a crisis? Filming his own family, his own parents, his brother and himself, André Novais Oliveira has chosen to take his time. He shots long sequences, leaving enough time for the fictional situations on which he puts his characters to grow and unfold. Then he uses wide frames to linger on more mundane, concrete or at times farcical moments: eating an orange, cooking, watching television...

Hong Kong movie

The Big Bad Wolf is back, and firmly intends to resume his usual behaviour. He is disillusioned when he comes upon Little Red Riding Hood, on her way to her Grandmother's, with a tray of cakes. "Things change, you know!", she exclaims. This is indeed what he finds out when he meets Grandma and the gamekeeper.

An adaptation of the Icelandic ghost story of "The Deacon of Dark River", set in 1970s France.

Une petite fille envoie un ballon avec plein de dessins à sa maman qui est au ciel...

In a darkened classroom, the white cracked walls serve as a movie screen. We are in a remote mountain village in Georgia. The light from the projector breaks the darkness: the children's first cinematic experience is about to begin. Among the kids are Iman and Eva, two Muslim girls, for whom the experience becomes a turning point and inspires them to pick up a camera and start filming their daily lives. The girls are growing up in a valley infested by radicalism, where most people live in constant fear that their relatives will sacrifice their lives in the name of God.