Les Pierres bleues du désert

The Dashwood sisters, sensible Elinor and passionate Marianne, whose chances at marriage seem doomed by their family's sudden loss of fortune. When Henry Dashwood dies unexpectedly, his estate must pass on by law to his son from his first marriage, John and wife Fanny. But these circumstances leave Mr. Dashwood's current wife, and daughters Elinor, Marianne and Margaret, without a home and with barely enough money to live on. As Elinor and Marianne struggle to find romantic fulfillment in a society obsessed with financial and social status, they must learn to mix sense with sensibility in their dealings with both money and men.

Orphaned after a Nazi air raid, Paulette, a young Parisian girl, runs into Michel, an older peasant boy, and the two quickly become close. Together, they try to make sense of the chaotic and crumbling world around them, attempting to cope with death as they create a burial ground for Paulette's deceased pet dog. Eventually, however, Paulette's stay with Michel's family is threatened by the harsh realities of wartime.

Welcome Home is being touted as a psychological drama with lots of thrills. The movie follows a pregnant woman living in a house. She is visited by a few other ladies presumably some officials and ask her about her lifestyle.

A saga of class relations and changing times in an Edwardian England on the brink of modernity, the film centers on liberal Margaret Schlegel, who, along with her sister Helen, becomes involved with two couples: wealthy, conservative industrialist Henry Wilcox and his wife Ruth, and the downwardly mobile working-class Leonard Bast and his mistress Jackie.

A woman suffers from amnesia after killing her husband, who was just about to demand a divorce for having found her engaging in an affair with a lover, who is only interested in her to find where some precious jewels are hidden.

Two estranged childhood friends unexpectedly reunite and decide to journey home together

In 1972, disenchanted about the dreary conventions of English life, 25-year-old Julia heads for Morocco with her daughters, six-year-old Lucy and precocious eight-year-old Bea.

Magali, forty-something, is a winemaker and a widow: she loves her work but feels lonely. Her friends Rosine and Isabelle both want secretly to find a husband for Magali.

A determined young woman goes up against the Moroccan traditions where the only way for a girl is marriage and children.

An exploration of the growing friendship between small-town girl Laura, who is persuaded onto a hiking trip by her friend Merit, and Joosep, a middle-aged guide.

Set in the mid-1950s when Tangier was still an international zone, El Chergui presents the city on the eve of its independence, as Aïcha resorts to magical practices to try to prevent her husband from taking a second wife. Around her, a society of women creates its own form of active resistance even as the larger independence movement grows around it. Through his unique use of montage, Smihi creates arresting images that present a society torn by the contradictions of colonialism, religion, patriarchy, and resistance. (Block Cinema)