Havana, spring 1971: The poet Heberto Padilla has just been set free and appears before the Cuban Writers' Union where he pronounces a statement of "heartfelt self-criticism", declares himself to be a counterrevolutionary agent and throws accusations of complicity at many of his colleagues present at the event, among them, his wife. A month previously, his arrest under the accusation of endangering the security of the Cuban state had mobilised prominent intellectuals all over the world, who wrote a letter to Fidel Castro calling for the release of the poet, whose only sin had been to dissent through his poetic work. The writer's mea culpa, the recording of which is shown for the first time to the public, marks the narrative line of a story including the testimonies of Gabriel García Márquez, Julio Cortázar, Mario Vargas Llosa, Jean-Paul Sartre, Jorge Edwards and Fidel Castro.

North Africa, 1954. The Algerian war of independence begins, a traumatic and extremely violent catastrophe that for eight long years will shake and finally overthrow the foundations of the colonial regime established by France in 1830.

An account of the childhood and youth of the Peruvian writer Mario Vargas Llosa, Nobel Prize for Literature in 2010, and how the hard experiences he lived during these formative years led him to write and publish his first major work when he was only 26 years old.

Documentary about one of the greatest French thinkers of the twentieth century, Claude Lévi-Strauss (1908-2009).

Hôtel La Louisiane is, at its core, a film about freedom and dignity. Freedom for those who wish to live in a place where they are able to feel inspired. Dignity for the hotel owner to stand by his promise to his father and keep their mission alive: to provide an affordable sanctuary for artists and students in search of fulfilling employment, which they certainly won’t find at other hotels. Freedom, too, to be in an environment of tolerance and rid of prejudice. This film is not just a story about a mythical setting in Paris; it portrays the microcosm of a lifestyle in which collective values reign supreme. A film where what’s real and true is placed above national borders or cultural barriers.

A journalist meets “Man of Today” who, while a responsible citizen, is disengaged from greater society. He believes once he’s dead nothing more matters. As an experiment to see if she can turn his pessimistic view around, the journalist sends him on a journey of enlightenment to prove that the future does matter. Travelling the globe, he finds himself in surprising encounters with great minds in the arts and sciences. Starting with an unexpected poetry reading and conversation with experimental poet Christian Bök, Man of Today engages with architect Shigeru Ban, activist Francis Dupuis-Déri, philosopher Alain de Botton, artist Marlene Dumas, novelist Rivka Galchen, leading scientists and a ghost. Will the journalist succeed in turning a cynic into an optimist? Will it matter? What can one person do?

At the height of the Vietnam War, a group of intellectuals begins a series of hearings in the People’s Palace in Stockholm. (Filmform)

How could the son of a graduate historian and a secretary, who liked to adorn himself with fast cars, fake eyelashes and expensive clothes, who wanted to become an artist, journalist or film director, become the "public enemy No. 1"?

An essay film about Jean-Paul Sartre and the French Existentialists, featuring Roland Barthes' last interview.

Michel Contat is Emeritus Director of Research at the CNRS, ITEM/CNRS/ENS and a specialist of Jean-Paul Sartre whose novels and theater he has edited in the Pléiade edition and about whom he has written several books. With Alexander Astruc, he made the film Sartre par lui-même (1976) and, with Antoine Burnier, co-wrote the script of Claude Garretta’s TV film Sartre, L’Age des passions (2006). As a journalist, Contat contributed literary columns for Le Monde since 1978, and as an amateur musician, he was the jazz columnist for the magazine Télérama. His most recent books are Pour Sartre (2006) and André Gorz; vers la société libérée (2009).

A talk show presented by Michel Drucker

Apostrophes was a live, weekly, literary, prime-time, talk show on French television created and hosted by Bernard Pivot. It ran for fifteen years (724 episodes) from January 10, 1975, to June 22, 1990, and was one of the most watched shows on French television (around 6 million regular viewers). It was broadcast on Friday nights on the channel France 2 (which was called "Antenne 2" from 1975 to 1992). The hourlong show was devoted to books, authors and literature. The format varied between one-on-one interviews with a single author and open discussions between four or five authors.

Nobel-prize-winning author, social justice crusader, anti-colonialist, adventure traveler, musician, and one-time Communist: André Gide was a larger-than-life character who dominated French letters from the turn of the 20th century to his death in 1951. Directed by Marc Allégret, with whom Gide traveled extensively in French Equatorial Africa, the film was made in the year leading up to the writer’s death.

Variations on the cultural and intellectual explosion in the Saint-Germain-des-Prés district in 1946.

Documentary filmmaker Védrès' first semi-fictional feature was released in France in 1949 as La Vie Commence Demain. The film made it to the U.S. in 1952 as Life Begins Tomorrow. Made in cooperation with UNESCO, the film speculates on the future of mankind after the advent of Atomic Energy. Many prominent French artists and intellects contribute to the narration: Jean-Pierre Aumont plays The Man of Today, Andre Labarthe is the Man of Tomorrow, and Jean-Paul Sartre, Daniel Agache, Jean Rostand, Le Corbusier, Pablo Picasso and Andre Gide are respectively seen as "The Existentialist," "The Psychiatrist,' "The Biologist," "The Architect," "The Artist" and "The Author". Film clips of hospitals, schoolrooms, scientific laboratories, and even nightclubs are woven into Védrès' fascinating tapestry.

As the title of this French documentary indicates, Ce Siecle a 50 Ans examines the 20th Century at its halfway point. Utilizing the archives of several European film reserves, director Denise Tua offers a fascinating mosaic of the people and events that shaped the years 1900 to 1950. Complementing the vintage film clips are three dramatized sketches, delineating the romantic customs of three different points in time. These sketches are inadequately performed, and can easily be ignored. Ce Siecle a 50 Ans both preserved and provided celluloid material for scores of future documentaries.