Pablo de la Torre

January 1939. The fall of Barcelona seals the defeat of the Spanish Republicans. Five hundred thousand of them choose exile. Upon arriving in France, the men are disarmed and interned in camps. As for the families, the administration distributes them among makeshift centers, several of which are in Ardèche. Elles et moi chooses to follow the fate of the Esteva family during these terrible months and the five years of war that follow. Lluis, the father, lives in hope of reconquest. Pilar, his courageous and energetic wife, feels that this new country will become her home for a long time to come. She thus leads her two children, Isabel and Ignacio, into this new life...

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Olivier Desroses and Juliette Carignan have two children, Mélanie and Quentin. They decide to leave Paris for Burgundy. Juliette, just out of a long period of unemployment, takes on the sales management of a major wine and spirits trading company, a unique and highly remunerated opportunity. Olivier, a committed French teacher in the Paris suburbs, tired of his years of teaching battle, decides to follow his partner and take a sabbatical year.

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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

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