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Spartacus & Cassandra

“When I was one year old I was already walking. At two, I was eating dirt. At three, my father was in prison. At four, I begged with my sister. At seven, I came to France.” Those are the words of Spartacus, a Roma child who, at 13, has already accumulated the experiences of several lifetimes. He and his sister Cassandre, 10, scrape out a living with an alcoholic, melodramatic father and a mother who begs them to free her from her husband’s tyranny. With the help of an exceptional social worker, they manage to detach themselves from their terrible parents and experience childhood as they never could before.

Spartacus & Cassandra

6.6 2014
Sacrée Sécu

The whole world envies it; it is the symbol of a united France, a source of national pride, almost an idol! The french Social Security system is celebrating its 80th anniversary. But at a time when public accounts are showing a huge deficit and the age pyramid is reversing, its future and its financing are being called into question. How can this jewel be preserved without causing it to lose its lustre? Can the untouchable be touched ? Sacrée Sécu lifts the veil on the history, legends and taboos surrounding a model that is unique in the world.

Sacrée Sécu

6.0 2025
The Fall

The Fall tells the remarkable story of a South African barefoot runner, an American track-and-field prodigy, and the events behind one of the most memorable moments in sporting history – the 1984 LA Olympics. The film charts two journeys, from rural South Africa under apartheid and the rolling hills of Southern California, to the starting line of the women’s 3,000 metres. It uncovers a tale of betrayal and exploitation, of the blurred lines between politics, media and sport, and of the dedication and sacrifice required to compete at the highest level. It’s a story that split governments and divided nations, but at its heart is a tale of two young women who, despite the turmoil in their lives, just wanted to run.

The Fall

8.5 2016
Numéro zéro

A family portrait in which the director profiles his grandmother, Odette Robert. Eustache includes in the film the conditions of its production — he is seated at the table with her, pours her some whiskey, speaks with the camera operator, manipulates the clapboard at the head and tail of the reels, and even takes a phone call. Robert, who was seventy-one, speaks rapidly and tells the story of her life, starting from her early childhood in villages in the Bordeaux region of France. A shorter version of the film ("Odette Robert") was edited in 1980 to be broadcast on television on TF1. The complete film only gained exposure in 2002, when it was salvaged by Boris Eustache, Thierry Lounas, João Bénard da Costa, Jean-Marie Straub, and Pedro Costa.

Numéro zéro

8.5 1971
Drugged and Abused: No More Shame

Caroline Darian, Gisèle Pelicot's daughter, looks back on the tragedy that shook her family: for ten years, her father drugged her mother to subject her to rapes committed by strangers recruited on the Internet. This case exposes the scandal of chemical submission, a practice where attackers, generally close to the victims, use prescription or over-the-counter medications to commit their crimes. This phenomenon, far from being marginal, affects victims with varied profiles...

Drugged and Abused: No More Shame

NR 2025
Supersurface: An Alternative Model for Life on Earth

Produced for the 1972 Museum of Modern Art exhibition, Italy: The New Domestic Lanscape, Supersurface was the first of five films planned by Superstudio as a "critical reappraisal of the possibility of life without objects." Superstudio envisioned a "network of energy and information extending to every properly inhabitable area". According to the artists, this network would bring about the destruction of objects as status symbols, the elimination of the city as an accumulation of formal structures of power, and the end of specialized and repetitive work as an alienating activity. "The logical consequence," they write, "will be a new, revolutionary society in which everyone should find the full development of his possibilities".

Supersurface: An Alternative Model for Life on Earth

8.0 1972
Tissu Local

Over the past thirty years, the French textile industry has outsourced almost all of its production. Thousands of jobs have been lost, particularly in the Hauts-de-France region. Those laid off have never found new employment in the garment sector. Today, for some fashion designers, "Made in France" is a matter of quality and reputation, and we are witnessing the beginnings of "relocation" for certain product lines. Capitalizing on this trend, a sewing workshop opened in Ham, Picardy, in May 2017. The plan is to employ 30 people by 2020. Supported by local authorities, this initiative is spearheaded by Jean-Luc François, a couturier committed to training in fashion-related professions. For a year, from the initial application review to the delivery of the first orders, Maurice Ferlet shares with us the hopes and doubts of the first twelve people to join this workshop.

Tissu Local

NR 2018
The Scorsese Machine

Amazing documentary shows rarely seen side of a master director. 1990 was a very good year for Martin Scorsese. After making a diverse group of films in the 80s, he reunited with Robert DeNiro for "Goodfellas" and later that year shot a segment for "New York Stories", an anthology film of three shorts by Scorsese, Woody Allen, and Francis Ford Coppola. During the editing, the French documentary series "Cinéma, de notre temps" filmed a documentary on the director, and it's a fascinating glimpse into his life, personality, and working habits as he edits his short with long-time collaborator Thelma Schoonmaker.

The Scorsese Machine

8.0 1990
2000 Cinématons

A film about an ongoing cinematic adventure that began in 1978: a vast anthology of personality portraits called Cinématons, dealing with people in the arts. Historical, ethnological, sociological and psychological, this anthology is a living record of the artistic community of the last 20th century which attempts to answer these questions: Why film everyone? Why choose cultural personalities? How do the subjects look at their image? How much exhibitionism and narcissism is involved in being filmed?

2000 Cinématons

5.0 2001