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The note seller Bicornu is annoyed by a troubadour named Niglo.
Love has packed up and left the castle. The queen has snuck back to her Kingdom of Skedaddle. But one person’s loss is a scoundrel’s gain: Bonifacio, a teller of tall tales, sees in the forlorn queen the perfect target for his hackneyed charms. As summer approaches, he changes himself into a sweet talker and sings her praises. Things would have worked out perfectly if only Princess Molly hadn’t arrived on the scene. While visiting her mother, she quickly discovers the hoax: the queen thinks she’s found a new husband in Bonifacio. But the swindling storyteller is really only interested in the kingdom’s legends.
In the vestibule of a hospital room, a young boy waits to see his dying mother. The clamor and spiralling movements of bodies around him intensify, forming a grotesque circus—a cacophonous circle that pushes the child back, depriving him of one final touch of his mother's hand. Using rotoscoped drawings suggestive of charcoal sketches, as well as 3D and object animation techniques, The Circus compels viewing with its unsettling realism. Colour is employed metaphorically to subtly express the promise and the memory of maternal affection. Nicolas Brault's highly personal film, suffused with poetic modesty, casts a poignantly sincere gaze on the heartbreak of a child facing the fearful, mysterious experience of his mother's death.
One winter, a ravenous ogre terrorizes the land of King Balthasar. Meanwhile, a blizzard is brewing in Léon’s heart. Braving the cold, this adopted bear cub runs away from home. Léon has many an adventure during his travels. He befriends a hedgehog and an elephant, confronts an ogre, and sets Princess Molly Gingerbread free. His courage and integrity eventually lead him back to his family. In the end, the cub earns everybody’s respect.
In 1970s Iran, Marjane 'Marji' Satrapi watches events through her young eyes and her idealistic family of a long dream being fulfilled of the hated Shah's defeat in the Iranian Revolution of 1979. However as Marji grows up, she witnesses first hand how the new Iran, now ruled by Islamic fundamentalists, has become a repressive tyranny on its own.
Every day, with the help of a small chick, a little girl with dog ears tries to hide eggs in order to keep them from being eaten.