How do those who may die tomorrow live? Camille visits Louis and then Rosa. These images, shot by Raymond Depardon and Patrick Blossier, introduce her approach. In a playful intimacy, she then begins to film Germaine.

How do those who may die tomorrow live? Camille visits Louis and then Rosa. These images, shot by Raymond Depardon and Patrick Blossier, introduce her approach. In a playful intimacy, she then begins to film Germaine.

The life of little St. Therese of Lisieux, depicted in minimalist vignettes. Therese and her sisters are all nuns in a Carmelite convent. Her devotion to Jesus and her concept of "the little way" to God are shown clearly, using plain modern language. A sense of angelic simplicity comes across without fancy lights, choirs, or showy miracles.

A man walks a length of railroad track, looking for his elderly mother whom he believes fell from the train at some point. He brings his daughter along.

Within the French judo team, which accepts a camera for the first time, Larbi Benboudaoud, the great favorite, prepares the next world championships. Every day, he sharpens his body and his mind for the fight. The competition is tough. Will he keep his title?

When Valérie's husband Yves confesses he's in love with another woman, she happens into a judo club and begins lessons. She likes it, she's a natural, and she's attracted to Bruno, the quiet instructor. He likes her as well, but sees social class as a barrier, and Yves never seems to be too far away. Valérie's two close friends have their own stories: Annette is continuously looking for a husband, with little luck. Clara cares more about wealth and power, and takes up with the country's finance minister, an older man who flips for her. Meanwhile, Yves's lover doesn't seem in a hurry to leave her husband, so Valérie looks good to him from time to time. Will Bruno ever make a move?

In this mainstream French comedy, a television writer creates a hit series based on the experiences of her housekeeper. The writer Nathalie does this in desperation as she has a deadline and is utterly blocked. She goes to Petlet and begins transcribing her memories of the lively goings on in her rural home village. Each memory is an episode in itself, and the show becomes a smash hit, but when Petlet realizes that her boss has been cashing on her life stories and taking all the credit, she gets angry and quits leaving Nathalie with no maid and no one to watch her children. Later Petlet's adult children demand that their mother return to demand credit and a piece of the action. But Petlet remains undecided.

The unique distinction of this standard comedy drama is that it is the first foreign, feature-length movie filmed in mainland China. Novice director Camille de Casabianca obtained permission from the authorities and set up her story around Valerie (Christine Citti), a woman who follows Yves (Yves Renier), the man she loves, to China. Yves is a journalist assigned to report on Western tourists behind the Bamboo Curtain, and it is an unintentionally comical group of tourists at that.