Nightly meetings imply a return. A return that should make a departure a whole lot easier.

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

A federal agent poses as a criminal to infiltrate a gang of parolees seeking vengeance on the lawmen who jailed them.

In this meditative and elegiac portrait, Senegalese filmmakers Khady and Mariama Sylla record the tales of their grandmother, a griot (storyteller) who is one of the last repositories of their culture’s oral tradition.

1906, two young women, who are socially opposed, fall deeply in love with each other.

Here Duras assumes a more distant role, less an interviewer than an invested documentarian. Her questions precede footage of her main subject, the sixteen-year-old Romain Goupil, recently excluded from the lycée, among his peers and fellow student revolutonaries. After we see them discuss the complexities of their position and deal with internal dissent, Duras asks Romain if he ever forgets how young he is. Romain replies with a grin: “Totally.”

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.

A documentary film that puts us in direct contact with the thoughts and views of HIV-positive people, their social, human and political experiences, their personal feelings and their vision of the world. It gives us the interviews of HIV positive people who wanted to express through the camera's eyes what they live every day. Topics of conversation around life, death, the other, politics, society... So many common themes, even anodyne, which take on a whole new dimension in the face of the emergency.

Koroviev, a police officer who teaches poetry in a brigade of police poets, is in search of a precious Bible annotated by Pierre Maheu, the captain of the St. Elias, a legendary ship. His quest leads him to befriend a young thief who introduces him to a mysterious woman named Coriandre.

The film focuses on Ernesto Rossi (1897 – 1967), who was imprisoned by the fascist regime between 1930 and 1943 for his political ideas. Exiled on the island of Ventotene, he co-authored the Ventotene manifesto.

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.

1980: the repression is in full swing in Haiti. A decree is going to ban all independent speaking and all manifestation of thought. Artists, writers, journalists, democrats all pay the price. A radio station, Haiti Inter, and its journalists are at the center of the storm. This film reconstructs a typical broadcast of Haiti Inter in the 1980s.

An adaptation of one of Samuel Beckett’s most powerful plays which is in fact a mime. A man sits in a desert and struggles to reach a flask of water and other objects symbolising relief or escape. The objects remain stubbornly out of reach, but the man doesn’t give up. What is significant about this play is that Beckett captured, without the use of words, the major concerns and motifs of Waiting for Godot and Endgame.