Les Films du Centaure

In the not-so-distant future stands a castle where life can be eternally extended, provided that the residents take their pills. At age 88, Madeleine sees herself as the princess of the castle where she'll live "till her dying breath"... until the day that she is forced to leave. Disturbing tale of an endearing woman at the dawn of losing her bearings in a system where every elderly person have to find a place to live.

A two-part in-depth exploration of the evolution of the private film industry, seen through the eyes of more than 50 industry professionals. Part One (1939-1979) : Artists and professionals from the social and commercial film sectors recount the struggle to build a film industry that is privately operated yet publicly funded. Part Two (1980-2010) : Executives, policymakers, and industry professionals trace the origins of the major funding institutions and discuss the unintended consequences of building a cultural industry around performance metrics, revenue generation, and private profit.

One of the most intimate and obstinate filmmakers in Belgium, Boris Lehman acts, directs, produces, and distributes his films, single-handedly incarnating the essence of a creator who manages to survive on the fringes of his industry. From Brussels to Paris, friends, filmmakers and critics offer their understanding of a man for whom life is a reason to film, and film, a reason to live.

Meditation on the passage of time, the territory we live in and the ties that bind us. This short film was shot in Quebec in December 2018 between the 48th and 50th parallels.

Looking for a long lost friend, Madeleine talks to a Stalker so that he can take her to «the zone» and help her look into her memories to find him at last. Essay-film hommage to Chris Marker.

The history of psychoanalysis is littered with the discarded psyches of the women whose diagnoses were key to the fame of the great masters. One such woman was Sabina Spielrein. Unlike the rest, she didn't vanish forever from history. Elisabeth Márton's film relates, restages and remembers the tragic story of Spielrein's life as gleaned from a box of her papers discovered in 1977 in the cellar of Geneva's former Institute of Psychology.