le Deuxieme Acte

Traditionnellement, les cinq cent mille moines bouddhistes de Birmanie prennent part à tous les secteurs de la vie sociale du pays et, s'ils restent à l'écart de la politique, maintiennent une réelle influence, à la fois spirituelle et pratique, sur le peuple. En 2011, la dictature militaire, au pouvoir depuis plus de cinquante ans, mise sur l’économie de marché et multiplie les signes d'ouverture, mettant fin notamment à la résidence surveillée de l'opposante historique Aung San Suu Kyi. Depuis 2016, celle-ci est membre du gouvernement, toujours largement tenu par l’armée. Dans cette dynamique inédite, une nouvelle génération de moines s’engage en politique, pour le meilleur et pour le pire.

The Circle (Persian: Dayereh) is a 2000 drama film by Iranian independent filmmaker Jafar Panahi that criticizes the treatment of women in Iran. The film has won several awards, including the Golden Lion at the Venice Film Festival in 2000, but it is banned in Iran.

" Ce film est davantage un appel à la raison et un acte politique qu'un documentaire sur la crise écologique. D'ailleurs, la "belle nature sauvage" est la grande absente…" (Nicolas Hulot)

Chaque année aux États-Unis, trente mille hommes, femmes et enfants meurent sous les balles de tueurs, fous ou pas. Les tueries dans les écoles et autres fusillades relancent régulièrement le débat sur la très libérale législation américaine en matière de vente et de détention d’armes. Mais rien ne change, tant est puissant le lobbying des producteurs et marchands d’armes.

On the death of his mother, a filmmaker makes a film to see how much her disappearance has changed his vision of the world. It is an opportunity for him to look back over his relationship with her: a relationship that made him a free individual, as a man and as a filmmaker. The second night is the final part of a trilogy that began with Letter from a filmmaker to his daughter, which was followed by Dreaming films. The making of this " Cabin Trilogy" is the fruit of fifteen years of work and reflection.

Both the title and the witty, urbane narration delivered by Alexandra Stewart are quintessential Chris Marker, yet this 42-minute essay about the work of photographer Denise Bellon is in fact a collaboration between Marker and Bellon's sister Yannick, a director in her own right who has been making films since 1947. Most of the Denise Bellon photography on-screen comes from France in the late 30s, and the sense of history is as sharp and inflected with literary irony as in Marker's other films.

Louis, a nine-year-old boy from Paris, spends his summer vacation in a small town in Brittany. His mother Claire has lodged him with her girlfriend Marcelle and her husband Pelo while she's having her second baby. There Louis makes friends with Martine, the ten-year-old girl next door, and learns from her about life.

A couple take their son for the holidays to an uncle, so short of money that he rents part of his big isolated house to a businessman whose wife and daughters are there on holiday too. An affair develops among the adults, while the children start their own explorations. Deaths, disappearances and financial ruin follow as the world drifts into war.