Ten unemployed men and women talk about why and how they've decided to stop working. After a period of familiarity with the labour market, these men and women have turned away from factories, warehouses and offices, determined to reject the rules of the existing economic war. Far from the usual worried or depressed image of the unemployed these “unemployed people who don't ask for work” openly talk about their reasons for seeking fulfilment outside of the workplace, with little financial resources but plenty of time to spend on themselves

Godard / Soller L'entretien

http://www.pileface.com/sollers/article.php3?id_article=284

http://www.pileface.com/sollers/article.php3?id_article=284

Debord's first film, “Hurlements en faveur de Sade” (Howls in favour of Sade), testifies in its own way on the passion for idleness that moves its author. Howls in favour of disappearance and perdition, howls against all images, against the spectacle and its hypnotizing effects, against false communication...

The life story of an elderly Mauritanian woman, Aïcha Messaoud, who spent her whole life as part of Sheik Ma-el-Aïnïne's distinguished family of nomads and now lives in the small Moroccan village of Tata, in the northern part of Western Sahara. The filmmaker sets out to trace the memories of her heroine. Stage after stage, she travels through thousands of kilometres across the desert, encountering the descendants of the Sheik.

Tarek and Nordin narrate the history and struggles of their organisation. In the midst of the election campaign, their memories of the constant lies and failures of different governments over the last thirty years are put into perspective, somewhat tinged with resentment.

Lepers banished to a Greek island. A society that organises itself to resist rejection and abandonment. In 1904, the Greek government decided to confine lepers, considered dangerous to society, in the fortress of Spinalonga, a peninsula north of Crete. There, while they await death, they seek a living. Raimondakis, the son of a lawyer, is their spokesman. He does not accept being locked up in handcuffs when he has committed no crime. He does not want to be pitied, he just needs love. Pollet is commissioned by the pharmaceutical company Sandoz to talk about the last days of leprosy in Europe, which he transforms into a profound reflection on the differences between the disease and the supposed normality. The camera travels through the abandoned spaces of the Greek island of Spinalonga, officially called Kalydon, a leper colony from 1904 to 1956, the year in which an effective treatment put an end to compulsory confinement and the sick began to be transferred to hospitals in Athens.

A prison on the island of Nisida, in Naples, is home to 40 adolescents aged between 14 and 21. The kids design masks to hide their identities during the shooting of the film. It is this very facet which contributes to establishing an increasingly intimate rapport with three of the inmates – Enzo, Rosario and Samir, confronted by prison life, invite us to share their daily routine of school and work, boredom and captivity. They also recount their stories and share their moments of hope and disappointment. If the objective of their punishment is, as stated in the Constitution, re-education, the film questions the compatibility between learning and imprisonment.