Too Many Cowboys

Replikas, online chatbots, have trouble determining their place in the world. They share their thoughts with the humans they exchange with. Events unfold from their point of view through real conversations collected on the web.

My Lover the Killer is the former title of the album by Lydia Lunch & Marc Hurtado released in 2016. The music, first languorous then abrasive, accompanies the verbal flow of the transgressive poetess who comes back to an intimate and violently tragic episode of her own life: her love and death story with Johnny O’Kane. With her long-time collaborator, Lydia Lunch, face to face with the camera, transforms this naked scene full of troubled anger into a deep dark confession. Hurtado’s images are saturated, grainy, willingly experimental and clash with those of an archive of furious performances. Just like the one who seeks to avoid taking part in her own prophecy.

Federico is an architecture student of the University of Palermo. He spends his days walking around the new city looking for modern buildings to photograph and drawing some of their details. In his wandering he meets a guy, Borobudur, who will disclose him the doors of a new urban dimension of the city. In the wake of this magic encounter Federico will abandon his routine to plunge into a city undergoing constant transformation that will drive him towards a personal metamorphosis.

Sami and Julie, twenty-something, live together in a small village in the south of France. One evening, they get ready to shoot a clip for Sami's new song, but it looks like it's going to be more complicated than they expected.

“At last it's party time, at last there's the fire,“ sing Clem and Ibra in the middle of a deserted village. Succumbing to the heat wave, languor consumes them. In the distance, the lights of the city and the celebration attract them.

It's back to school soon and Camélia, 15, has a somewhat special service to ask Salah, her best childhood friend: she would like to practice french kissing before the end of the summer.

Made over the course of several visits to the Scottish Borders by the French artist filmmaker Jacques Perconte, the film interrogates the Scottish borders unique heritage : sheep farming, fabrics, the woolen mill tradition and our unique landscapes are all rendered in an impressionistic arc of colour and movement. The path we drive leads to the heart of the Ettrick Forest, a dive into a textile world. A land where man, machinery and nature deal with a complex relationship that draws their future. Slipping through poetry, between the brutality of matter and the sublime landscape, we experience a penetrating vision that embodies the stability of our deep desire to live in peace. Spectators are aware of the impotence of our movements, and we know that nature will find its way.