On dirait Nino Ferrer

In a conservative Armenian family a 16 years old Karine dreams to become a veterinarian, but her family, especially her father, who is a well-known dog-fighter, is against it. They say it’s not a proper job for women. Karine needs to choose: to follow her dreams or to listen to her patriarchal family.

Max Voronski was on the road to a life of crime until he discovered kickboxing and turned into an aspiring young sportsman, eager to become a world champion. Max has got the talent, but the road to glory is a bumpy one.

Portrait of Augustinas Baltrušaitis, film and theatre director, as well as actor, who fell into obscurity and has now been relegated to the margins of society, as a result of specific political circumstances. Countdown is a film about the limits of memory, the effects of the implacable passage of time, and a hope that surpasses time.

This film tells the story of Markus Anatol Weisse, who, astonishingly enough, became an artist, in spite of being only very partially sighted. Markus also builds strange machine-like beings and wishes that he himself were a biological robot, or cyborg.

Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.

Together, the three Bertrand brothers work their farm in a small Savoyard village. In 1972, they took the enormous risk to invest in the construction of an ultra modern stable for 82 milk cows. With modern organisation, they hoped to lead a better life. Almost 30 years later, the farm is successful. Their work is meticulous and the milk is graded top quality. The human cost is much more sombre. Indeed these thirty years can be summarised in one word : work. The brothers are bachelors and – each one now over sixty years old – a bitterness when they recall their past. The younger brother says it himself: "It's an economic success, but it's a human failure...".

When Werner Herzog was still a child, his father was beaten to death before his eyes. His mother was overwhelmed with his upbringing and thereupon shipped him off to one of the toughest youth welfare institutions in Freistatt. This was followed by a career as a bouncer in the city's most notorious music club and an attempt to start a family. Today, the 77-year-old from Bielefeld lives with his dog Lucky in a lonely house in the country. Despite adverse living conditions, he has survived in his own unique and inimitable way.

In this film, Paul Tomkowicz, Polish-born Canadian, talks about his job and his life in Canada. He compares his new life in the city of Winnipeg to the life he knew in Poland, marvelling at the freedom Canadians enjoy. In winter the rail-switches on streetcar tracks in Winnipeg froze and jammed with freezing mud and snow. Keeping them clean, whatever the weather, was the job of the switchman.

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen - through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things - that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers - that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

This feature documentary is a profile of Canadian press tycoon Roy Thomson, whose single-minded attention to business brought him riches, power, and even a baronetcy in England. A native of Timmins, Ontario, Thomson had a tremendous career as publisher, television magnate, financier, and owner of many newspapers, including leading London dailies. The film is a frank study of an equally frank man.

Le Lignon: a long building with two towers, below it the Rhone River and its forest, habitat to many birds. Two microcosms that influence and inspire each other. From their windows, the inhabitants watch the woods. What do they see? The film shows the human need for closeness to the animals that surround us, and the ambivalent relationship between humans and nature.