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Mo'

Few people realize that the great movie-character archetypes over time have become real people and walk among us. At least that is the premise the filmmakers of this off-beat and comical parody of old films would have viewers believe. With a nod towards film noir, the story centers on a missing television western sheriff who inexplicably disappears mid-season. This greatly upsets Monica "Mo" Fitzgerald who is in charge of the huge entertainment conglomerate that invented the sheriff, so she hires hard-boiled detective "Same Follow" to find him. In true Raymond Chandler fashion he begins his search and even gets entangled with a blond femme fatale who explains to him how Mo' has brainwashed all the actors working for her into becoming their characters or "sprites" as she calls them. In looking more closely, Follow discovers that it is increasingly difficult to tell the sprites from real people.

Mo'

8.5 1996
Madame Sans-Gêne

Catherine Hubscher, laundress, saves the life of an Austrian nobleman with the complicity of her fiancé, Sergeant Lefebvre, the day when royalty collapses. And then the years pass ... Become Marshal of the Empire and Duke of Danzig, ex Sergeant Lefebvre always has for wife Catherine, the ex laundress; and this, in spite of the efforts made by the Emperor Napoleon to have him divorced, the Emperor blamed him strongly for the lack of distinction of Catherine. Faced with the Marshal's refusal, Catherine was summoned to the Emperor's house and the dialogue between them lacked heat to say the least, until the former lieutenant Bonaparte recognized in Maréchale Lefebvre, Catherine the laundress, who once , gave him credit for his laundering debts.

Madame Sans-Gêne

7.0 1974
Les femmes et les enfants d'abord

Rose was a brilliant student of Fine Arts. Then, she gave up everything for a "beautiful marriage". Now in her thirties, she is experiencing more and more difficulties in her life, which is both materially overprotected and difficult with her three children and an increasingly absent husband. She breaks down, cracks up and tries to imagine how she could broach the subject with her husband before it's too late. To her great amazement, it was Didier who, one evening before going to visit friends, announced that he was leaving and that he had already rented a small studio. After the shock, Rose goes to her father, an old Spanish anarchist, who gives her back the taste for values she thought she had lost.

Les femmes et les enfants d'abord

8.5 1994
Casse-cou, mademoiselle!

Working for a stock-car team, Robert dreams of becoming a racing driver himself. For a long time this is only a pipe dream until one day fortune smiles on him when he saves the life of a young woman. Gisèle, the young lady in question, happens to be the daughter of a car manufacturer. Robert and Gisèle fall for each other and decide to marry. They get on quite well except on one point: Gisèle does not want her husband to take part in car races. But passion is the strongest and, breaking the ban, Gilbert wins the La Baule car event. Overcoming her aversion, Gisèle finally allows her husband to pursue his brilliant career.

Casse-cou, mademoiselle!

8.0 1955
Luxury Girls

Lorna, the daughter of an American playboy, enters a girls' school for the international smart-set, in the Alps, where the main course of study appears to be how to trap a rich man. At first, she is dominated and looked down on by the school ring-leaders, and forced into rooming with - horrors - a scholarship student. But when a rich young American shows interest in her she is elevated to the international clique of the upper-termers. Then she falls in love with - horrors again - a poor local mountaineer.

Luxury Girls

9.0 1952
Le banc

"There are people who never go and sit on a public bench and there are people who sometimes go and sit on a public bench. These are very different people, the former walk very fast, the latter arrive, stay a moment and then leave. And it was the latter who interested me in particular. What do they do? Do they talk to each other? What do they say? My idea was to make a short film about that, showing five people who are very different from each other but who were all able to come and have a chat for a moment on a public bench." (Patrick Van Antwerpen)

Le banc

NR 1971