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After a catastrophic global war, a young filmmaker awakens in the carnage and seeks refuge in the only other survivor: an eccentric, ideologically opposed figure of the United States military. Together, they brave the toxic landscape in search of safety... and answers.

A woman is in front of a tribunal and pleads about her case, but her assigned defendant lawyer hasn't showed up. She is also hiccupping since her husband died in a war. The trial gets more absurd as new characters come into play.

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After the impressive Gulistan, Land of Roses (VdR 2016), the Kurdish filmmaker Zaynê Akyol returns with these conversations with imprisoned members of the Islamic State, alternating their words with aerial views of the countryside. An unexpected look at a far-reaching current political issue and a film whose subject matter and rhythm create an impressive cinematic object.

When men take up arms to go against their brothers, women have to take up gravediggers’ shovels. Ceebla (Fardouza Moussa Egueh, who we also saw in Gravedigger’s Wife), refuses to bargain for the cost of her labour. When her grave finally finds a taker, the revenue logic takes an unexpected twist. The Earth Has Ears is a civil war film without gunfire. It shows how the absurdity of war also turns everyday life at the home front irrational. / MSFF

In autumn 1944, during the Liberation of Brittany, writer Louis Guilloux worked as an interpreter for the American army. He was a privileged witness to some little-known dramatic aspects of the Liberation: the rapes and murders committed by GIs on French civilians. He also discovered the racism of American military justice. This experience haunted the novelist for thirty years. In 1976, he recounted it in a short novel, "Ok, Joe", which went unnoticed. This film compares his account with the memories of the last witnesses to these forgotten crimes and their punishments.

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Blocks and balls fight simply because they are different, until their battle reduces everyone to the same shape.