"Complet 6 pièces" se passe à Paris autour de quelques ateliers de couture. C'est un film à sketches où, par six fois, des situations de travail dérapent.
Contemporary Paris, mid-July. Guillaume arrives in the capital to caretake a large apartment until the end of the summer. Lucie, the apartment’s owner, and a friend of his mother’s, welcomes him… then suddenly disappears.
Gloria et Frances se sont rencontrées dans les années 80. Elles se sont aimées comme on s'aime à seize ans : drogue, sexe et rock&roll. Puis la vie les a séparées, et elles ont pris des chemins très différents. Vingt ans après, Frances revient chercher Gloria…
Rémi, trente ans mène une vie plutôt tranquille. Il travaille dans une petite entreprise au nom original de « Chat va bien », il est amoureux de la fille de son patron. Mais une nuit, il rencontre son « double » avec qui il va devoir cohabiter et dont la présence semble ne pas étonner plus que ça son entourage. Cet alter ego, est-ce un ami, un ennemi, un frère, ou simplement la version dernier cri de Rémi ? Qui de la copie ou de l’originale triomphera sur l’autre ?
Kogo, cinéaste japonais, vient passer quelques jours chez un ami à Pantin. Il fuit son travail. Une adresse mal notée, la tour météo de Romainville, un colloque sur l'échec en art, une fille en bleu, une autre en toque, auront raison de son programme.
Une femme héberge quelques amis mais ne leur confie pas les clés de son appartement. Sa fenêtre donne sur un camp de migrants. Ses amis vont, viennent. Un jour, les migrants ne sont plus là. Les jours suivants, de nouveaux venus, qui ne sont pas des migrants, apparaissent dans l'appartement.
Alexandre, a thirty-year old tailor, has decided to improve his cultural level. That is the reason why he has decided to attend an evening school. The lessons are given in the classroom of an elementary class by a teacher named Etienne. The subject of the course is : "The solitude of Jean-Jacques Rousseau". Will Alexandre become another man after grappling with with Rousseau, Diderot and ... Etienne? - Guy Bellinger
As the title suggests, Père et fille tells the story of a father growing up alone with his daughter after the premature death of the mother. If the premise is sad, director Quentin Papapietro manages to build a comedy in which the feeling of heartwarming fatherly love is staged with intelligence, and a great sense of cinema. With humour and a hint of absurdity, Père et fille offers a new way to consider family films.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
A girl wakes up and heads to work in Pascale Bodet's first short film. Screened for the first time since it was shot three decades ago, Corps social demonstrates that something as simple as a meal or a bike ride can take on a playful and ineffable dimension. In her films, those moments in which seemingly nothing happens become a discreet but luminous choreography of everyday life.
I give a friend a tale to read. He leaves his house, walks across the countryside, repeats the tale to himself, and arrives at the sea. And so it was that a stonecutter, who became rich, then king, then sun, then cloud, then rock, became a stonecutter once again.