Antoine Reinartz

Based on a true story, Palme d’Or-winning director, Laurent Cantent (Entre les murs/THE CLASS, 2008) depicts the fall of a rising star, carried away by the turbulence of Twitter. Witness the rise and the fall of Karim D., the new wunderkind of French literature adored by critics and audiences alike, whose hate messages formerly posted on social networks by his digital alter-ego Arthur Rambo have been exhumed. Will Karim live with the consequences, or narrowly escape cancellation? “I am sharp and wise. I know poetry and politics. I rose from a social underworld to an exposed position as a provocative Parisian author. I published a novel. But I also write in 140 characters. And when I do, I hit my target. That’s why they all want me out!” -Arthur Rambo.Read More »

Fatima-Zahra and her teenage son Selim move from place to place, forever trying to outrun the latest scandal she’s caught up in. When Selim discovers the truth about their past, his mother vows to make a fresh start. In Tangier, new opportunities promise the legitimacy they each crave, but not without pushing the volatile mother-son relationship to the breaking point. The Damned Don’t Cry combines melodrama and neorealism to tell the story of a mother-son relationship on the fringes, observing the effects of oppression – both economic and affective – in a cut-throat world. Borrowing its title from a 1950s Joan Crawford melodrama, The Damned Don’t Cry employs non-professional actors for its two main actors and almost the entire cast. In his second feature which premiered at the Venice Film Festival, writer-director Fyzal Boulifa manages to avoid pastiche while ‘readily embracing some of the formal elements of melodrama’ as he takes his inspiration from Pasolini’s Mamma Roma and Le notti di Cabiria.Read More »

Fatima-Zahra and her teenage son Selim move from place to place, forever trying to outrun the latest scandal she’s caught up in. When Selim discovers the truth about their past, his mother vows to make a fresh start. In Tangier, new opportunities promise the legitimacy they each crave, but not without pushing the volatile mother-son relationship to the breaking point. The Damned Don’t Cry combines melodrama and neorealism to tell the story of a mother-son relationship on the fringes, observing the effects of oppression – both economic and affective – in a cut-throat world. Borrowing its title from a 1950s Joan Crawford melodrama, The Damned Don’t Cry employs non-professional actors for its two main actors and almost the entire cast. In his second feature which premiered at the Venice Film Festival, writer-director Fyzal Boulifa manages to avoid pastiche while ‘readily embracing some of the formal elements of melodrama’ as he takes his inspiration from Pasolini’s Mamma Roma and Le notti di Cabiria.Read More »

Follows ten year-old Johnny who stands out in different aspects way beyond his age. Things change when his new teacher sees his potential, believes in him and wants to open a new world to him.Read More »