Tébésud

Sabine and Natacha are 22. They live ‘here’, in the sticks, next door to each other. One day, Natacha has an opportunity: leave ‘here’ to go ‘over there’, thus abandoning Sabine. This act of treason will prove fatal.

Emergency medicine intern Margaux can no longer stand it. During another very hectic and patient-filled shift, she forgets a homeless woman on a stretcher who then dies. Shocked Margaux has no choice but to continue working. But suddenly, her body starts sweating blood uncontrollably.

In a future where human memory is recorded on cards and biomechanical bodies are replaced by biological ones, anyone can change appearance following their mood, as long as they can afford it. But people who can not continue to rent their expensive bodies and are forced to abandon them. This is what threatens Emma Beaufort.

Mael is fifteen when he meets Kevin, a childhood friend of his mother's, who has recently returned to Brest. But this encounter upsets Liza, who blames Kevin for the death of her twin brother, Lomig, at twenty. To protect her son, she will have to confront a past she has erased from her memory.

In autumn 1944, during the Liberation of Brittany, writer Louis Guilloux worked as an interpreter for the American army. He was a privileged witness to some little-known dramatic aspects of the Liberation: the rapes and murders committed by GIs on French civilians. He also discovered the racism of American military justice. This experience haunted the novelist for thirty years. In 1976, he recounted it in a short novel, "Ok, Joe", which went unnoticed. This film compares his account with the memories of the last witnesses to these forgotten crimes and their punishments.

Rennes, 2020. The Cinéma Arvor, a temple of art and independent film, is spending its last hours in its emblematic building with its five columns and pink neon sign. The Arvor will move into a modern glass tower, next to the EuroRennes train station. The cinema will expand from two theaters to five and enjoy greater programming freedom. Putting financing together does not run smoothly; delays pile up on the construction site. Nothing out of the ordinary, until the pandemic throws the schedule into disarray yet again. The directors shadowed the Arvor team for more than two years. As cinephiles, they make this history an ode to art and independent film and share their love of the theater as a place of communication, encounter, and extraordinary shared experiences of cinema on the big screen.

1986, in a village in France. A child, Natalia, discovers strange scars on the body of her father, an Argentinean exile.