Following a shopping frenzy, a young man gives himself a journey to the end of the world.

"Here is a family of average French people in front of their television. Elsewhere, they are Palestinian fighters filmed before the massacres of Black September." (JLG, 1976). "We came here to study this: to learn, to learn lessons, if possible to record these lessons, to then broadcast them here, or elsewhere in the world. Almost a year ago, two of us came to investigate the Democratic Front. Then another went to Fath. We read the texts and programs. As French Maoists, we decided to make the film with Fath whose title is Until Victory. We let the Palestinians , during the film, themselves say the word: "Revolution". But the true title of the film is Methods of Thought and Work of the Palestinian Liberation Movement." (JLG, Manifesto, July 1970)

For seven years, Antoine de Caunes and José Garcia made their mark on French comedy history each evening in prime-time on their show, "Nulle part Ailleurs".

After Sans tambour and an international tour with Oh My Gad! performed in English in more than fifteen countries, Gad Elmaleh is back with a new one-man show, D'ailleurs. An intimate and jubilant show! For nearly two years, the comedian has crisscrossed France with this sixth show mixing stand-up and characters, free of the desire to please. An unfiltered return, eagerly awaited by his audience, to be discovered in this recording at the Dôme de Paris. Gad Elmaleh confides on his daily life, his American adventure, his relationship with his parents, his sons and his former girlfriends.

It's been four years since Sylvie's son Felipe was abducted by his father Pablo after their divorce. Having been let down by the French officials who had succeeded in tracking both them down, only to let them escape again, Sylvie has now decided to take matters into her own hands.

Unable to meet all the demands of his job and family anymore, Mathieu feels he's in a mid-life crisis and hurriedly leaves for the forest. His relatives are left by themselves, faced with his sudden departure and their choices.

At the end of 19th century, Doctor Pierre Adélaïde, born in Martinique, gets to a small village in Charente to take over from a colleague. Soon, he is facing something else than racism: fear of foreigner. His office is desperately empty.

Europe, the rule of law and host countries? Look elsewhere denounces what is happening in many European cities by taking the example of Calais. From the expulsion from the "jungle" in October 2016 to the situation there a year later, Arthur shared moments of life with men and women of Sudanese, Afghan, Ethiopian, Eritrean and local descent of Calais. By highlighting the gap between the field and the official speeches, this film shows us the strategy put in place to dissuade the exiles from staying. With original filming methods and his civic gaze, the director has managed to film the state harassment, the media staging, but also the strength and humor of the exiles.

A schoolteacher takes in a 16-year-old immigrant boy who has found himself without a foster family.

Geneva train station. A woman leaves for Marseilles to give a conference. A man is on his way to Berlin to discover his new born child. A young woman is off to live in Naples. When one person invites itself to take a seat next to someone else, a new reality can start off. Three people meeting, three life stories which switch on the platform of a railway station.

Li Fang, a Chinese immigrant who has been living in Montreal for over 10 years. Her infertility and her violent separation from her Quebecois husband, Eric, have pushed her to the brink of despair. Escaping the chaos in Montreal, Li Fang visits her grandfather in Dazu, her birthplace in south China. The support and inspiration provided by her family and an old lover helps her break the impasse in her life.

Maxime forgets how to put on her pants and she decides to keep her problem to herself. Gradually, her memory loss forces her to confront more and more difficult situations.

The film takes place in a Parisian suburb and brings us into the closest possible contact with the people who live here and takes us into the privacy of their lives. A series of personal accounts and shots of the decorated interiors of apartments and houses with no hint as to where we are, no names. No stigma attached, no label given. For these are not the subject of the film, which seeks instead to give a face and a voice – a sort of private landscape – to a space that has come to represent all that is standardized and anonymous.

The artist sets up his camera in front of a run-down shack. He will attempt to penetrate his subject with a series of agile and inquisitive camera movements. Although open to the four winds, the building is presented to us as an impenetrable castle: there are bars on the windows, locks and pulleys: a series of obstacles blocking our access. Lange launches his attack by panning horizontally, then vertically, across the walls; these are scarred with broken windows, which provide the principal motif for the film. This panning movement continues, with a series of variations based on the geometric patterns offered by the half-broken windows: a series of backlit triangles and rectangles, which at times suggest an anthropomorphic motif. The use of different shooting speeds and of in-camera double-exposure causes the film to fluctuate between documentation and abstraction. L'Ailleurs - Somewhere Else - is the interior which the film never penetrates.