Robin's Hood is the final chapter in a trilogy of the adventures and histories of Miss Chief Eagle Testickle Kent Monkman, a wandering artist from the Great Plains of North America, who journeys far across the seas to study the unspoiled European Male in his native habitat. She meets the handsome Robin Hood in Sherwood Forest, but realizes too late that one can never trust a white man, especially on his own turf.

Group of Seven Inches borrows from the diaries of 19th century painters of “Indians,” George Catlin and Paul Kane, turning their dismissive writings on the “romantic savage” upside down and inside out. Miss Chief Eagle Testickle (the outrageous alter ego of Cree artist Kent Monkman), forces innocent naked white men to become her figure models, seduces them with whiskey, and when she’s done with them, dresses them up as more “authentic” examples of the “European male.” Shot on the grounds of the McMichael Canadian Art Collection in Kleinburg, Ontario, Group of Seven Inches subverts the subjectivity and authority of colonial art history and everything else it can get its hands on.

Didier and Anne, both trying to escape from their lives, literally bump into one another on the streets of Paris and, through a series of adventures, set about creating a quiet revolution in their lives. Clear-eyed, witty and entirely original, this is a film of friendship and an exploration of our need not to run away, but to create what we really want for ourselves.

Ten young people (boys and girls) at the age at which all is possible. They meet, they love, they choose. The film comes and goes between all those people, revealing their anguish, their dreams, depicting the portrait of a generation of the '90s which has both the fury and the fear of life.

What We Have is is the tale of Maurice, a prisoner of his past who is unable to connect with the people in his new Northern Canadian small town, a community that is only too ready to welcome this European misfit into their arms.

Since the death of their parents, while they were still teenagers, Jéremie and Maxime live alone together in an old manor at the edge of the sea. It's the sole remaining link with their family roots. Over the years, Jéremie, taking on the role of big brother and father, has continually looked after Maxime, who is still affected by the accident. Like wounded galloping horses, they have to face their destiny and confront death in order to recover their identity and be at peace with themselves.

Alfred leaves the north of France to find his estranged mother who's become a prostitute in Marseille. He changes his identity and begins hooking in order to be close to her. "Bonne Mère" is a nostalgic poem of longing.