Content from Neon Rouge Production

The Mercy of the Jungle is a road movie that deals with wars in Congo through the eyes of two lost soldiers in the jungle by showcasing their struggle, weakness and hope.

A recent medical school graduate, Emil Petrescu leaves Romania to take over a retiring doctor's medical practice in the Belgian countryside. During the winter, a meteorite disintegrates in the sky, a phenomenon that will leave an old man mute. The young doctor is called to his aid.

Rayna is a Bulgarian prostitute, working in Brussels’ red light district. One night, she shares a mystical and sexual moment with an African client, who dies shortly after. That night will haunt her.

Lia, a Belgian-Rwandan basketball player facing the twilight of her career. Twenty years after fleeing the genocide, she is asked to join the Rwandan national basketball team. This journey stirs buried memories of a painful past: exile, family silences and the pain of a fractured identity. Through her eyes, the film explores confrontation between memory and the present, and a nation scarred by tragedy with a contemporary Rwanda brimming with life and creativity.

Quirino, 77, has lived for more than 30 years in an abandoned village, at the bottom of a deep valley, between the sea and the mountains. Feeling the effects of old age, Quirino faces the dilemma of having to leave the only place he has ever known or end his days there.

Eight women, Arab and Jewish, take part in a video workshop hosted by Rona, young filmmaker. With each camera take, the group dynamic forces the women to challenge their beliefs as they get to know one other.

A man returns to his home in the Colombian countryside after a long fishing night and discovers that paramilitary forces have killed his two sons and thrown their bodies into the river.

Idrissa lives in the suburbs of Dakar, Senegal. As a result of budgetary restrictions imposed by the IMF, then headed by Dominique Strauss-Kahn, he lost his job as a civil servant. Since then, Idrissa has been looking for work, without success. His pride as an African man is all the more affected by the fact that he is now entirely dependent on his wife, Viviane, who somehow manages to support the family through her medical practice. Aminata (Idrissa and Viviane’s daughter) and Moussa, two young students in love with each other, also see their lives disrupted by the economic situation imposed on the country. After yet another humiliation, Idrissa, who holds Strauss-Kahn responsible for his misfortune, decides to go and see a marabout to prepare his revenge…

Where does one draw the line between 'art' and 'theft'? Art and artist? A criminal and aesthetic investigation into the creation of incognito artist Pavel Novak, virtuosi counterfeiter wanted by the FBI for his 1978 "Stolen Art" exhibition in New York, which caused international stupefaction… some pieces proved to be stolen originals. Simon Backès takes us on a trek across New York, introducing us to specialists who unveil and question our relation to art- a matter of cultural legacy, but also, quite simply, merchandise. Does beauty exist without copyright?

Luisa, a 40-year-old singer, is in a relationship with Julien, who is a guitarist and composer. They have been in a band together for many years. One day, her father, whom she hasn't seen since she was a teenager, comes to see her after a concert. He tells her that he is seriously ill. This encounter unsettles Luisa. She begins to see her life in a different light.

« Traces, women's imprints » is a film that ventures to the discovery of three grandmothers kassenas (Burkina Faso,) their granddaughter, and the exclusively feminine art of this region's mural paintings. Between these women's portraits and a traditional art form, « Traces » is a painting on paintings that reflects upon transmission, education and memory in the context of a world in mutation.

In his village, where bread is scarce, Ousseynou, a former fisherman, finds stability by selling stale bread. The opening of his sister-in-law's bakery creates an unspoken tension between them, jeopardising his business and family role.

Bakary, a young man from Mali, sits on a rock in a lake and pours a small packet of milk over his head and body. He then takes an egg, looks at it carefully and says “Monday”, after which he breaks it and drops the yolk into the water. He repeats this several times. Having followed all his marabout’s instructions to the letter, his next crossing should now be successful.

The former French colonies in Central and West Africa have been independent since 1960, but most of these countries still use the currency of the former oppressor: the CFA franc. It was linked to the French franc when it was introduced, so the national bank in Paris controlled monetary policy. Now the currency has a fixed exchange rate with the euro. The link with the European currency strongly influences the monetary policy of CFA countries. And that means the value of the CFA franc is defined by political decisions taken elsewhere, rather than by the domestic economy.

A young Congolese boxer, Samwa, and his older brother, Nourou, arrive in Brussels for the final of the Afro-European Middleweight Championship to fight against the Belgian title holder. Samwa trains heavily, despite some harsh conditions, under the authoritarian look of his brother. Until the day when the Belgian fight promoters, aware of the fact that the political situation gives the final a symbolical turn, order to Samwa to lose the fight. The day before the match, Samwa and Nourou watch Patrice Lumumba's independence's speech. Samwa decides not to give up but in this power's struggle, one of the brothers will betray the other one.

A hundred letters written by Portuguese women during the Salazar dictatorship were found by chance in a second-hand bookshop. By confronting today the women who wrote these letters with the ghosts of the past, and revealing important archive material, Letters to a Dictatorship takes us on an in-depth journey through the obscurantism that dominated Portugal for more than 50 years.