Drag Queens and their cabaret shows are well-known in France, but Drag Kings still remain very much on the sidelines. Chriss Lag traveled all over France and met 22 Kings to bring them front and center.

A woman convicted of fraud aims to take her revenge on the man who put her inside after being released on parole.

“I approached Pierluigi Cappello when he became my bedside table companion. We didn’t know each other, but were already intimate. His poems are full of images, I might even have dreamt some. I didn’t know anything about his personal life, about the motorcycle accident when he was sixteen, and that he spent the rest of his life in a wheelchair. There’s no trace of it in the poems: in his verses Pierluigi runs, and sometimes he flies.”

Following a long investigation, Police Detective-Lieutenant Anthony "Tony" Roberts becomes convinced that there is some powerful unknown-master-mind leader behind the gangs of crooks who are terrorizing the city, and it has something to do with paroled convicts. He sets up a scheme with his supervisor to have himself shamed by being demoted to a patrolman and then caught in the act of receiving bribe-money from a racketeer. He is convicted and sent to prison, and the manner in which his parole is arranged leads him, dangerously, to the secret-head of the gang.

Extremely confident in her mastery of style and taking obvious delight in her citations, in PAROLE ROSETTE, Katrina Daschner uses the performance by a well-rehearsed group of queer couples to stage a controlled game around/about social conventions and (sexual) self-determination, interwoven into an architecturally sublime setting (the Carlo Mollino's Teatro Regio in Turin). - Barbara Reumüller

ROUGE PAROLE is the story of the Tunisian popular revolution, emotionally told by its heroes through both their silence and their clamors. It is the story of Freedom, summoned by History.

Arianna works as an employee in a private broadcaster, Andrea is instead a teacher in an elementary school. The two, both in their thirties, meet at a party and Andrea has managed to conquer Arianna after having courted her in an original and pressing way. The two have been together for the past six years and have become parents of little Francesco, but now their relationship is on the verge of breaking, due to misunderstandings and jealousy scenes that lead them to accuse each other. The couple chooses separation, but living alone after so long is not easy at all.

Godard blends elements of literature, cinema and other artistic medias from different historical periods in order to make a stance on how words can be subverted and manipulated to many different contexts, sometimes bearing a similar significance to the original material or even creating an alternate context.

With one more day of parole left, J.T. vows to play by the book. But when he finds out his mom will lose their home unless they come up with a serious amount of money, J.T. takes a chance by entering a lowrider contest that violates his parole.

Charlie, an unlikely ex-con adjusts to life after prison, only to find one thing: it's tough on the outside.

Two strangers, a man and a woman, are framed for a jewel robbery and thrown in jail. After they get out, they join forces to track down the real thieves.

The soundtrack brings together two voices, one male, one female. The woman seems to encourage the man to say something close to his heart but oppresses. The man seems aphasic, it will first only inarticulate sounds and sighs, then he manages to articulate words which all mean the rejection of war and its horrors. Band image has presented some drawings being traced (we guess, behind the translucent sheet of paper on which they appear, the shadow of the painter who traces, Mélik Ouzani): these drawings expressionist style evoke the sinister military glory, the massacres which are the reverse of the glory.

Follow former prisoners through the challenges of their first year on parole. With unique access, the film goes inside the effort to change the way parole works in Connecticut and reduce the number of people returning to prison.

Opening with the testimony of a politically exiled Basque author reminiscing on a childhood where he was forced to “hide his language as something ugly”, Faire la parole then keeps apace with some young people from the French and Spanish Basque Country: Nora, who saw the newspaper where she worked closed by the Guardia Civil in 2003, then Aitor, Ana and Ortzi. The last three, still teenagers, lend a summery and easy-going tone to the film, which is magnificently framed by Eugène Green’s long-time cameraman, Raphael O’Byrne. The dialogue that settles in between the younger members and those in their thirties has a rare quality, as if the difference of language – which each has had to impose on their family or on their national entourage – had almost tacitly created a secret community. Starting with the political stakes (regional languages versus centralism), the story hikes over the mountains with these new friends brought together by the filmmaker.

A rare 1992 Italian drama film.

The comparison of two realities: Lent of Capuchin Friars and Queeresima Association Arc. On one side the Christian rites followed by a large audience and devout; on the other side young and old people passionately trying to carry on an idea of civilization. On the same floor there are men and women of modern Italy, who, through a concrete commitment, are trying to change things for the better.