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Violetta, the Motorcycle Queen

After a 10-year absence, 27-year-old Amelie returns home to suburban Paris and the decaying motorcycle-dealership/junkyard where she was raised. Her hope is that time has healed the open wound of hostility between herself and her alcoholic older brother Adrien. Amelie dusts off an ancient motorcycle, revs it up, and practices riding inside the immense sphere of metal latticework constructed by her late father. The local popularity of this stunt suggests a broader appeal plus profits, so soon the act goes on the road, where emotions spin out of control.

Violetta, the Motorcycle Queen

9.0 1997
Bolero

The film follows four families, with different nationalities (French, German, Russian and American) but with the same passion for music, from the 1930s to the 1960s. The various story lines cross each other time and again in different places and times, with their own theme scores that evolve as time passes. The main event in the film is the Second World War, which throws the stories of the four musical families together and mixes their fates. Although all characters are fictional, many of them are loosely based on historical musical icons (Édith Piaf, Josephine Baker, Herbert von Karajan, Glenn Miller, Rudolf Nureyev, etc.) The Boléro dance sequence at the end brings all the threads together.

Bolero

6.9 1981
We Are All Murderers

Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.

We Are All Murderers

6.7 1952
The River

“The River” ponders whether you can go home again, particularly if you’ve never been there. When Alfa (French rapper Stomy Bugsy) kills his drug-dealer boss in retaliation for a friend’s death, his brother cryptically suggests he leave Paris and “go toward the river.” Accompanied by sassy Senegalese cousin Marie (Auriele Coulibay), he embarks on a road trip back to his disdained African roots. Pic possesses a picaresque charm, plus feisty persona of Marie. But Bugsy is so unflaggingly morose, it’s hard to understand what Marie sees in him. Pic, yet to find a distrib in France, stands little chance in the U.S.

The River

7.5 2003
Hidden Diary

In the 1950s, Louise left her husband when their children were still little. She was never heard from again. Her daughter Martine stayed in the small seaside town, where she became a doctor. Martine's daughter, Audrey, a thirty-year-old independent woman, returns to visit her parents. By chance, she finds a notebook that belonged to her grandmother, a diary that may at last explain her departure. Will it reveal the things left unsaid, that have altered the relationships within the heart of the family ever since? In it, will Audrey find answers to the questions that she is asking herself about her own future?

Hidden Diary

6.2 2009