Known for Directing
Two limping souls in their sixties collide – literally – on a street corner. What begins as a clumsy accident becomes a quiet spark. Over coffee, they linger. They talk. And just like that, an unlikely intimacy begins to bloom. The Slug and the Snail traces the gentle unfurling of a connection born not of urgency, but of presence of two bodies long ignored by the tempo of the world, finding rhythm in each other. Anne Benhaïem’s film is a tender ode to queer aging, to liminality, to love that doesn't need to shout to be heard. With stripped-down direction and performances that pulse with lived-in truth, the film crafts a space of radical softness. It speaks to loneliness without pity, to affection without spectacle. It reminds us that desire doesn’t fade, it just changes shape. Benhaïem herself plays one half of the duo, bringing a raw, honest magnetism that makes the story feel lived rather than performed. This is cinema as whisper, as mirror, as gentle rebellion.
Avignon. Irma, who doesn’t seem to find her place in the world crosses paths with Dolores, a free and uninhibited woman who is in a mission to write a gay-friendly travel guide on a forgotten area in Provence. The unlikely duo takes to the road and contrary to the saught after pittoresque and sexy Provence, they discover a world more complex and a warm-hearted humanity, struggling to exist. For both of them the trip becomes a initiatory journey.
A love story of two women who meet up in their late forties and attempt to retrieve the romance they had in their youth.
A young woman travels to Moscow, speaking with the people she meets of the region's recent past.
