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Frank Martin is forced to deliver Valentina, the kidnapped daughter of a Ukrainian government official, from Marseilles to Odessa on the Black Sea. En route, he has to contend with thugs who want to intercept Valentina's safe delivery.

Tells the story of a young woman's relentless search for her fiancé, who has disappeared from the trenches of the Somme during World War One.

Goodbye Bafana is the true story of a white South African racist whose life was profoundly altered by the black prisoner he guarded for twenty years. The prisoner's name was Nelson Mandela.

After she ends up in prison and loses custody of her son, a woman struggles to assimilate outside her former life and remain clean long enough to regain custody of her son.

Three female tourists have their eyes opened while visiting the poverty-stricken and dangerous world of 1980s Haiti.

Pierre Foret is funny and that is his tragedy. That is also his job, he warms up the audience on a TV set. Pierre Foret is funny but he would rather be good-looking. Or an actor. Or a singer. A matter of credibility. Pierre Foret cannot take it any more. He has not slept in six nights. He has kidnapped Clovis Costa, the singer, the Idol, and sequesters him in the apartment he grew up in. No way out.

When it comes to surviving in today's Algeria, no scam is too daunting for the woman who has adopted her country's name. If they're pretty and lacking in principles, her recruits can make a career for themselves. The latest of these, Paloma, is quite a hit, especially with Riyad, Madame Aldjeria's son. But the purchase of Caracalla Springs, the dream that should allow Aldjeria's clan to start a new life, proves to be one scam too many.

Three women in their late thirties, one with marital problems, one trying to be perfect, and a spinster, discuss their relationship to men.

A young boy must accept his divorced mother's new fiancé.

A teenage girl from Paris decides to complete the aborted journey of a young man whom she secretly has a crush on.

Halvard is madly in love with his beauty, because Pollux is the woman of his life. But it suddenly disappears - Halvard then has only one idea in mind: to find her at all costs. But this disappearance will create many worries.

On Christmas Eve in Paris, Stéphane, Joëlle, Xavier and Sonia decide to go for a walk in the park overlooking the city of their childhood. At the bend of the winding alleys, they evoke pop music, their work, sex and disappointed ambitions.

Odile lives a dull, boring life in her quiet village. At the bakery where she works only she halfheartedly sells bread and pastries. One day, a group of motorcyclists stop in front of the shop. One of them enters with a mission to buy croissants for everyone. When the biker, all in black leather, takes off his full-face helmet, he turns out to be a ... young woman. A startled Odile recognizes Pascale, the classmate she once betrayed in the elementary school playground.

A doctor in his 30s gives up a successful career to start a rock band.

This 74 minute documentary captures the film's beginnings on storyboards and goes through every creative step. No interviews, no observations, no recalling memories. There's just footage of whatever happened as it was happening: it takes the viewer from initial concept to casting, rehearsals, costume fittings, creating disfigured bodies, dialogue replacement, editing, composing... If that's not enough, there are, on the same DVD, shorter segments on the creation of 1920s Paris and the zeppelin explosion.

In the beginning: pale gray, blurry target. It's an announcement. Of a war? No. More complex. Of a division. Between yesterday and today. In other words, as transparent as a window, between today and itself. Because in today, there is always something of yesterday that persists in the present. Olivier Derousseau is sticking to his guns. His previous films prove it: Bruit de fond, une place sur la terre and Dreyer pour mémoire, exercice documentaire (FID selections in respectively, 2001 and 2005); his titles speak volumes. It was a question of giving way completely to a restrained rage and a righteous anger; words had to be given to the silent. It was a question of keeping head up. It's still the case: continuity. But today, Derousseau is going to look for this yesterday in another great taciturn. His subject is a chatterbox in his books, a proud partner of autistic persons, a cartographer of lost steps, and a dilettante filmmaker (his utmostly moving Le Moindre Geste): Fernand Deligny. He and some others (Georges Binetruy of the Medvedkine group, Jacques Rancière) are purveyors of words and images from the past. O.D. confides those in the present to a scanning: "You see/there were so many things to say/that we began/to be silent." The first uttered phrase is a paradoxical program, a suspensive project, a request to reveal, and a double-barreled joy. That his "actors" are handicapped (as already in his Dreyer) or for a long time hired for a painting, that they pronounce scrupulously-with all the respect of those who know that understanding is a lost paradise-, and that they move so cautiously that they increase the space of their steps, changes nothing. Although it is in the center of the focus, the shore remains far, or just off to the side.