In this French comedy-drama, actor Angelo Bastiani installs satellite dishes when not auditioning for films. After being told he's not convincing enough for a role in a gangster flick, Ange dons a mask and stages a parking-lot holdup, terrifying the film's director and casting director to prove his point.

Raphael is an ex-boxing champ who now trains his young brother Manu. Tony, Raphael's ex-rival, returns to town to wed his reluctant fiance Chinh. As soon as Chinh and Raphael meet, sparks fly, and soon the two are sneaking out together.

Suddenly he thinks her alone, his wife. This person whom he doesn't know how to love and who is now falling prey to a gnawing disease. This woman whom he knows so little about and whom he would like to be with him. Right now, Just like before.

A sleeping boxer on a train dreams of a victorious fight. Inspired by a lost poem by Jean Genet.

In Saint-Nazaire in 1967, a hotbed of workers' struggles, Clémence, 26, is married to a young worker, Gérard. Like many women of her generation, she does not work and takes care of her two children. But she longs for a different life while Gérard confuses the happiness of his family with the acquisition of household appliances. Trained by an old friend, Agnès, in family planning meetings, Clémence will meet a young philosophy teacher, Jérôme. For him, she will abandon her husband and her children, and try to live the utopia of a life of total freedom. Blinded by his pain, a stranger to his wife's questioning, Gérard will have to become aware of the upheavals that will overwhelm society a few months later. Life will never be the same again.

After the death of her husband, Lilia's life revolves solely around her teenage daughter, Salma. Whilst looking for Salma late one night, Lilia stumbles upon a belly dance cabaret and though initially reserved and taken aback by the culture of the place, Lilia gets consistently drawn back to it. She befriends one of the belly dancers and is encouraged into dancing for the audience. Lilia also starts a romance with one of the cabaret's musicians, who unbeknown to both of them, is also romancing Salma.

Karnaval is set against a backdrop of intolerance and hostility in the gloomy Northern French city of Dunkirk. The story is set during carnival time, when the citizens let themselves loose for six weeks of partying, carousing and having a good time. The film centers on Larbi, an Arab youth, and his confrontation with one of the turning points of his life. After a violent argument with his father, Larbi decides to leave the family's business and go to Marseilles for a fresh start. On his last night in the town he grew up in, he sleeps in the hallway of an apartment building, where he is disturbed by Béa and Christian, a couple having fun at the carnival. Larbi is attracted to Béa and decides to stay a few more days to try his luck. In the free atmosphere of the carnival, Larbi discovers a world that he did not know existed, a world which is about to clash with his conservative outlook, and the three lives are changed forever.

Nopumoceno, the most successful businessman in the Cabo Verde archipelogo, is an ambitious, clever opportunist, known during his lifetime as "eternity single". However, he is then discovered by his illegitimate daughter to have gotten his fortune and his women in unorthodox and incredible ways

From Muslims in Bosnia-Herzegovina to Christians in Lebanon, from the Bektashis of Macedonia to the Syriacs of Turkey, director Jacques Debs helps us discover two groups of people long forgotten or ignored - the Muslims in Europe and the Christians in the Middle East.

A now-rich woman returns to her poor desert hometown to propose a deal to the populace: her fortune, in exchange for the death of the man who years earlier abandoned her and left her with his child.

After the fall of the military dictatorship in 1983, successive democratic governments launched a series of reforms purporting to turn Argentina into the world's most liberal and prosperous economy. Less than twenty years later, the Argentinians have lost literally everything: major national companies have been sold well below value to foreign corporations; the proceeds of privatizations have been diverted into the pockets of corrupt officials; revised labour laws have taken away all rights from employees; in a country that is traditionally an important exporter of foodstuffs, malnutrition is widespread; millions of people are unemployed and sinking into poverty; and their savings have disappeared in a final banking collapse. The film highlights numerous political, financial, social and judicial aspects that mark out Argentina's road to ruin.

Starting in 1944 in the wake of the Liberation and continuing into the '60s, 'houses of hope' were established to lend a semblance of continuity to youngsters orpahaned by the war. Nina's Home takes place between September 1944 and January 1946 in an orphanage housed in a chateau outside Paris. At the outset, the country residence is run by Nina who has a core population of French Jewish children whose parents are probably dead. Food is scarce. News of the Concentration Camps hasn't hit yet, but some months later, a contingent of youths arrive form the liberated camps. The children are a disparate, wild, damaged group and conflicts ensue. Nina's challenge is to help them make their first delicate moves toward the future and in the process restore all of them, including herself, to life.

The meeting of two worlds that never met. One of poetry and freedom, and the other of silence and darkness. A story that begins in a maximum security prison in Sweden where a young actor, Jan Jönson, decides to stage " Waiting for Godot "with five prisoners as actors.

Some days turn out to be simply unforgettable. For Marie, it all starts with a pregnancy test… that proves positive, a car accident and being fired from her job... For Hortense, mobile phone in hand, the frantic quest for sexual satisfaction begins in a traffic jam... For both Luis and Maurice, the unexpected appearance of a loved one pitches them into a world of dreams and nightmares. While some of the characters know each other, others come into contact by chance. One woman profits from all this, the other is shattered. One will have gone looking for trouble, the other will have asked for nothing. There'll be no fatalities.

This documentary follows 76-year-old nomadic musician Miguel Del Morales during his travels throughout Cuba, Guantanamo and Trinidad. Amid his journey, he meets up with some long-lost friends and makes brand-new ones. This engaging film was shot with just one hand-held camera and was a Director's Fortnight feature at the 2000 Cannes Film Festival. French filmmaker Karim Dridi directs and co-writes.

Jean V., a forty-year-old bailiff, practises his profession with talent, but without humanity. He is married to Nicole, a 35-year-old consumer in crisis. Jean regularly calls on the services of George, a chronic debtor and folkloric character, who helps him with his "little tricks". Incidentally, George restores Nicole's taste for buying. One day, Jean meets Eddy, a policeman who accompanies him on his round of seizures. But a dispute between them escalates out of all proportion. Pushed to the limit, Jean decides to work with George on a dark plot to teach the cop a lesson.

An executive and a dowdy working-class woman, both unemployed, married and parents meet at a supermarket. They become friends but find it hard to accept that they may be in love with each other.

Jean-Christophe Klotz was a cameraman for a French broadcast news service in 1996 when he was sent to Rwanda to cover the growing violence between ruling Hutus and rival Tutsi tribespeople. What Klotz saw profoundly shocked him, as bodies littered the sides of the roads and bloody massacres became the order of the day. In between interviews with government officials and United Nations forces vainly struggling to contain the violence, Klotz captured the mayhem on film, believing that if world leaders saw what was happening, they would step forward to stop the violence. When Klotz was injured while filming an attack, he was sent back to Paris, and while his footage was aired, French forces only belatedly arrived, ultimately doing more to protect those who caused the massacre than bringing them to justice. Years later, Klotz used his footage to help identify some of the victims of the killings, and in 2006 he returned to Rwanda to visit the nation after the violence had ceased.