Seven Times a Day We Bemoan Our Lot and at Night We Get Up to Avoid Our Dreams

On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.

A woman trips and falls while rushing around the house. She gets up only to discover that her home has unusual features—it is built from paradoxes, filled with illusions, and covered with patterns.

Pierre, 25 years old and on a scholarship for a prestigious Parisian university, is lodged by Francine, who is 75, disabled, and confined to her wheelchair. Both puzzled and disoriented, they witness the French presidential elections of 2017 play out.

Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

Following a fictional group of refugees across Europe, the film questions the overproduction of images surrounding real-life tragedies and deaths.

A broken phone and the digital memory of a broken queer relationship. Through the careful manipulation of discarnate metal components and the filmmaker’s attentive look at an intimate archive, a fading first love surfaces. Loveboard is a playful reflection on what remains.

The Brazilian trans woman Gisberta lived as an immigrant in Portugal. After she was brutally murdered, she became an icon for the transgender rights cause.