Roméo and Juliette are two young actors. They fall in love at first sight, move in together and make a baby. A love story and the founding of a home like millions of others. Except that their little boy, Adam, behaves abnormally. The young parents try hard to persuade themselves that everything is okay but, with the passing of time, they cannot delude themselves anymore : their son has a problem. Their fears are unfortunately confirmed : Adam suffers from a malignant brain tumor. From now on, war is declared. A war against illness. A war against Death. A war against despair.

Jacques Arnault, head of Sud Secours NGO, is planning a high impact operation: he and his team are going to exfiltrate 300 orphan victims of the Chadian civil war and bring them to French adoption applicants. Françoise Dubois, a journalist, is invited to come along with them and handle the media coverage for this operation. Completely immersed in the brutal reality of a country at war, the NGO members start losing their convictions and are faced with the limits of humanitarian intervention.

A devoted young woman becomes ensnared in a web of sexuality and betrayal in Jean-Pascal Hattu’s consistently unpredictable and finely wrought character study. A vividly realistic psychosexual drama, the film’s sharp emotional honesty heralds a distinct new voice from a promising young director. Hattu soon reveals that Maite’s husband Vincent is in prison for an unspecified crime, and that she has promised to wait for him and attend to his laundry (if not his conjugal needs) during his incarceration. On one of her weekly visits, Maite meets Jean, an oddly inquisitive and boldly flirtatious prison warden, and soon the two commence a joyless affair. Seemingly smitten with Maite, Jean, in a gesture of kindness to his lover, eases up on her husband behind bars; the two become pals and even engage in some homoerotic shower talk. —Robert O’Shaughnessy