This year, the works of five June graduates were selected by a distin- guished jury: Mélanie Bellue-Schumacher, video artist and director of the gallery L’Hoste Art Contemporain; Cyrille Putman, author, exhibition curator, and gallery owner; and François Hébel, director of Les Rencontres d’Arles. An unusual attention is to be paid to five different gazes, resolutely based in the real, only departing from it all the better to return. They have in common an intense commitment to the subjects they reveal in their images.With his series Almost History, Adrien Pezennec attempts to recount History, or a part of history, with and without a capital H: history, stories, even anecdotes. These are accompanied by texts, captions describing what exists beyond the frame.Jérôme Michel is intrigued by what is almost seen, hovering just at the surface, level with the landscape. He uses 3D animation to capture the basic geometry of pumping stations in his series Out of the Ditch and screen printing for his installation One or Three Icebergs.Annabelle Amoros constantly questions images, taking as fulcrum the reality / fiction duality. Her videography represents and ‘fictionalises’ the calm, peaceful, sometimes monotonous life of sheltered village- dwellers. She transforms them into dramatic characters and creates environments throbbing with tension out of an almost eventless daily round.Olivier Sola uses the camera as a tool to extract bits and fragments of reality. The crux of his work is the transformation of these fractions into new objects, independent of and disconnected from their source referents. Finally, Sajede Sharifi writes and photographs so as not to forget. His series Blind Memory tells the story of so-called ‘modern’ Iranian women through different eras. The title refers to their absence, since the very beginning of photography in Iran, from the visual history of the country.