Nicolas de la Mothe

Vincent tells the story of Jean, a character who is a part of him, without being him. In this story Jean meets Stacey. Among the echoes of today's society the professional and private relationship of a filmmaker and an actress at work is growing. Notre Histoire is a modern tragi-comedy, a love letter to a woman, a tribute to a neighborhood victim of terrorism, a self-portrait, a social criticism, the description of a relationship between a filmmaker and an actress, in the center of which desire and urgency to work mix.

Jake and Mati are two outsiders in the northerly Portuguese city of Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.

Vincent tells the story of Jean, a character who is a part of him, without being him. In this story Jean meets Stacey. Among the echoes of today's society the professional and private relationship of a filmmaker and an actress at work is growing. Notre Histoire is a modern tragi-comedy, a love letter to a woman, a tribute to a neighborhood victim of terrorism, a self-portrait, a social criticism, the description of a relationship between a filmmaker and an actress, in the center of which desire and urgency to work mix.

Behind the scenes of Mathieu Kassovitz's 'The Crimson Rivers'

Maglone and Juliette are 19. After graduating from high school, Juliette has decided to study the visual arts. She has made new friends whom she invited to her cottage in Normandy in order to introduce them to Maglone. “Juliette and I have known each other since the sixth grade. I don't know her squad, but... are my friend's friends also mine?”

Wang Bing concludes his monumental Youth trilogy in expansive fashion, giving ever wider scope to the lives of migrant workers in Zhili’s textile factories as they plan to go to their remote hometowns to visit their families and celebrate the festivities for New Year’s break.

In 1985, former oil rig worker Richard Linklater began a film screening society in Austin, Texas, that aimed to show classic art-house and experimental films to a budding community of cinephiles. Eventually incorporating as a nonprofit, the newly branded Austin Film Society raised enough money to fly in their first out-of-town filmmaker: James Benning. Accepting the invitation, Benning met Linklater and the two began to develop a personal and intellectual bond, leading to many future encounters. Starting in the 1960s, Benning had been creating low budget films mostly on his own, while Linklater had just begun to craft his first shorts. The filmmakers have remained close even as their careers have diverged. After the cult success of Slacker, Linklater went on to make films with Hollywood support. Benning, meanwhile, has stayed close to his roots and is mainly an unknown figure in mainstream film culture.

In this enveloping second part of the Youth trilogy, shot between 2015 and 2019, Wang Bing deepens his vérité portrait of a generation struggling to survive on meager wages amidst a nation’s economic expansion, emphasizing the distrustful, increasingly combative relationship between workers and management.