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As an experiment, Mehran Tamadon asks exiled Iranians to interrogate him as if they were an agent of the Islamic Republic. A renowned actor with first-hand knowledge of such mistreatment takes up the challenge.

Nuns murdered and buried in a mass grave. Catechism instructors shot in their own homes. An archbishop murdered in his cathedral while performing mass. For decades, Liberation Theology, a grassroots branch of Catholicism that stood with the poor and oppressed, played a powerful and influential role in Latin American revolutionary movements. Its fundamental tenet, Nicaraguan theologian and journalist María López Vigil says, is that God is not neutral, and is on the side of the poor. And because of that, its practitioners were targets. To the US, Liberation Theology was more dangerous than communism. To an increasingly conservative Vatican, it was a movement to be suppressed. Now, decades after the period of revolutionary ferment in Latin America, THE GOSPEL OF REVOLUTION travels through the region, meeting key figures and tracing the history of the Liberation Theology movement. Through powerful archival footage and contemporary interviews, the film shows how these radical Catholics fought injustice alongside peasants, workers, and Indigenous people, refusing to accept poverty and oppression. Liberation Theology stressed structural change and mutual aid, in contrast with today's more self-focused evangelical movements. At a time when evangelical Christianity is on the rise and associated with conservative politics, THE GOSPEL OF REVOLUTION serves as a powerful reminder that it doesn't have to be this way.

A prison cell is set up in an empty room on the edge of Paris. Three former political prisoners re-act how they were once interrogated and tortured.

Although they were risking their lives by doing so, prisoners in concentration and extermination camps took photographs and even managed to smuggle canisters of film beyond the camp gates.

Why did my grandmother have a lobotomy? By drawing the threads of this drama, I'm exploring the links between psychiatry and the society of its time and the very particular place of women in this history.

Once symbols of wild nature, forests are undergoing an unprecedented phase of industrialization. The loss of traditional know-how, the imprudent use of fertilizers and pesticides, as well as monoculture, which follow the contemporary agricultural model, have led to a dreadful reality. A documentary that urges us to think if we really want to transform our oxygen providers into green deserts.

An atheist, Iranian filmmaker Mehran Tamadon managed to convince four mullahs, all believers in the Islamic Republic of Iran, to come and stay with him for two days and engage in discussion. In this confined space, daily life is combined with debate, an unremitting demonstration of the problematic issue of how to live together, when each side's understanding of the world is so contrary?

The setting is Paris in 2017, close to Place Stalingrad. In an apartment, a couple tear each other apart whilst outside, a man tries to find shelter from the cold.

Forty protagonists, witnesses and victims look back at the 1989 massacres on both sides of the Senegal River, the border between Mauritania and Senegal, in order to understand what really happened.

Ten years after his father's untimely death, Paul Costes mingles the family's present and past Super-8 images. Behind the humor, the gap between the death of a family member and the feelings it creates.

In the Landes de Gascogne forest, bird cages are hoisted up to the tree tops with pulleys. A man on watch in a large low hut camouflaged by pine needles awaits the opportune moment to pull the strings. A strange and fascinating woodland theatre... Bucking all commentary, Marine de Contes depicts a practice in all its ritualistic complexity. A city dweller and a woman, so doubly an outsider, she holds her breath along with the small group of attentive watchers. Without reneging on its status as an ethnographic documentary about the techniques, space and vocabulary of wood pigeon hunting, THE GAME also takes an interest in the community that the sport sustains, in an identity that binds generations and in the distribution of the sexes (women visibly are only passers-by). Waiting is an integral part of the hunt, filled by learning - even in one's eighties - how to play Candy Crush on a smartphone, or by telling stories in the Gascon dialect. The waiting is all the more fruitful for the filmmaker as it soon appears to be the mirror of her own documentary filmmaking: when you film without a scenario, you surely also set up a dispositif that acts as an "event-trap", capable of closely espousing the image and sound of an elusive passer-by's sudden intrusion into the frame. The increasingly loud and disquieting noise of a pine tree being felled suggests that wood pigeon hunting will soon be no more than a folkloric memory. A hand-over - at least metaphorically speaking - has taken place.

Between getting by and getting into trouble, the life and petty trafficking of Eugène, a 20-year-old "business man" in Ouagadougou.

The portrait of an Iranian actress living in Theran.

On arriving in Esmeraldas, Ecuador, Patrice Raynal finds himself immersed in the tumult of a carnival. The music and dancing - more ambiguous phenomena than first appears - provide the through-line for his first-person narrative.

This imaginary documentary tells the story of a post-mortem meeting between a young French filmmaker and his former neighbor, Lutz Dille, a great photographer who sank into oblivion of the history of art.

In the footsteps of his grandfather who was a member of the Camel Corps during the French Mandate in Syria, Lucas Vernier takes us on a thrilling road movie to meet a people and their memory as they are going to be ravaged by war.

Relying on each other, Toshi and Darcho set out on a journey to a farther dimension.

Tehran, June 2013. Iran prepares to elect the new President of the Islamic Republic. In front of their TV, they comment on the presidential campaign broadcast on national channels: the jokes that accompany the parade of candidates betray the disappointment of the spectators. After the 2009 riots , with the democratic impulse bloodily suppressed by the regime, how can the Iranian people still believe in politics?

The filmmaker advances step by step in the world of Noble Soninke, a man who like many others cleans our offices and takes out our garbage cans.