After the sudden death of a close friend, three middle-aged New Yorkers embark on an extended binge that takes them across the Atlantic in John Cassavetes’s abrasive and painfully intimate portrait of male friendship. Jean-François Stévenin was utterly devoted to Cassavetes’s cinema, and Husbands was a personal favourite. 

Drawing inspiration from Heiner Müller's text Medea-Material and unfolding through a series of recitations and discussions, Mathilde Girard's search for Medea quickly evolves into a remarkable space for excavation and self-discovery.

Beginning with the encounter between two former school friends now in their middle age, Jean-François Stévenin’s second film follows their attempt to play a prank on an estranged member of their childhood gang: a desperate grasp at faded youth which quickly unravels into an ‘accidental’ kidnapping. Ending in existential desolation on a snowy mountain range, Double Messieurs takes Stévenin’s singularly free-form style to new heights.

A former Mongol scout, dismissed as insolent for warning of invasion, escapes imprisonment to avert catastrophe in Ardak Amirkulov's thirteenth-century epic telling the story of Genghis Khan's siege of Otrar.