The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael…
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Daniel Solomon is not having a good day. Somewhere in the stratosphere between Bangkok and Tokyo, the jetliner on which he’s travelling breaks apart, ejecting Daniel and his fellow passengers into the sky. Strapped into his seat thousands of feet above the merciless Earth, time suddenly stops, the wreckage of the plane freezes in place, and Daniel discovers what it means to have your life flash before your eyes. Transporting himself into the past and re-experiencing his memories in real time — but helpless to change the present — he plunges into the detritus of his all-but- concluded life.

A short fil that follows a body subjected to institutional and diffuse forms of power: medicalization, psychiatric labeling, regimes of sexuality, and everyday violence. Moving between a white clinical space, a cemetery in Toulouse, and ordinary interiors, the film unfolds through gestures, textures, and encounters with other bodies. Inspired by Michel Foucault, Deleuze and Guattari, Artaud, Rancière, and critical thought from Latin America, this short film traces a sensitive cartography of emancipation and asks a simple yet difficult question: what can a body do when it attempts to reclaim its own history?

Thief Gaston Monescu and pickpocket Lily are partners in crime and love. Working for perfume company executive Mariette Colet, the two crooks decide to combine their criminal talents to rob their employer. Under the alias of Monsieur Laval, Gaston uses his position as Mariette's personal secretary to become closer to her. However, he takes things too far when he actually falls in love with Mariette, and has to choose between her and Lily.