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La Nuit la plus chaude

One Saturday night, Jenny and Vera, are sequestered at home by an armed man who wants a big sum of money. As the two girls have no cash, he will wait until Monday morning for them to be able to withdraw the money. For the time being he binds them on their bed and, tired out himself, falls to sleep. The next morning, Max Sorini (for such is is name), a former legionary, accepts to tell his story to his two victims: having surprised his wife Nathalie in the company of her lover, Max had fallen upon his rival and a fight had ensued during which the other man had killed Nathalie, before taking the French leave. The police, believing Max was guilty with the manslaughter had arrested him but he had managed to escape while being transferred to prison. Now he needs money for his defense... —Guy Bellinger

La Nuit la plus chaude

4.0 1968
Frau Venus und ihr Teufel

Hans Müller finds himself on a trip in Thüringen, accompanied by his loving female friend, Moritz. Hans doesn't understand much about trust, which constantly leads to problems between the two of them. During one of their fights, Lady Venus intervenes and sends the young man back to the Middle Ages - so he can learn the true meaning of love. Disguised as Tannhäuser, he has to stand his ground against a horde of minstrels. At a singing competition, he blunders, without the support of Moritz, who had also been thrown back into the 13th century. And with the help of Frau Venus, his adventure will surely turn out even worse...

Frau Venus und ihr Teufel

6.5 1967
Champagne for Savages

A diverse group of friends gather to celebrate a witless woman's birthday in this comedy drama set in France during World War II. The guests include an uncle who is a Nazi collaborator, a blind war veteran, a simpering physician, an arrogant educator, a patriotic girl, and the husband of the guest of honor. When some German soldiers are killed outside the house, the group is told by the Gestapo that they must choose among themselves two who will be shot if the killer is not caught. If two victims are not chosen, all seven at the party will be captured. Things sound pretty grim, but the black comedy begins when all seven try to save themselves by any means possible.

Champagne for Savages

6.3 1964
Besuch bei Busch

The main committee is of the opinion that the rating "especially valuable" can be retained. The style of the film is appropriate to the subject of "Visiting Busch" in its concentrated limitation to the authentic living environment. The individual visual motifs are composed with great care. On the one hand, the small world appears endearingly portrayed, on the other hand, the film's allusions to the background of the Wilhelm Busch phenomenon are convincing. Above all, the Committee would like to uphold the rating because the film, made in 1961, sought out the people who still knew Busch and bear witness to them in the film in an impressively simple and not exaggerated manner.

Besuch bei Busch

NR 1961
L'invention du diable

The invention of the devil is the cinema, this means of defeating time. This film shows the stages in the discovery of cinema throughout the 19th century, from the phantasmagoria of Robertson, to the final development of the invention by the Lumière brothers. The works of all the precursors, John Paris, Plateau, Purkine, Muybridge, Marey, Reynaud are presented in motion thanks to a very important animation work. The prints of time place in counterpoint the historical stages of the century.

L'invention du diable

NR 1966
Living & Glorious

Leonardi's film about the Living Theatre is less concerned with a straight documentary presentation of the exile theatre group from New York, but rather is concerned with the specific atmospheric factor which is indicated by their name, and which constitutes the highly suggestive effect of their playing. Cutting, for Leonardi, is the most decisive aesthetic device. The result is a wonderfully composed furioso of pictures. The hand-held camera catches rehearsals, conversations without sound, bits of theatre and daily life actions (which, for Living Theatre people, is very often intermixed).

Living & Glorious

NR 1965
Brindisi '65

Initial panorama of Brindisi, a city with a peasant tradition. The petrochemical, city within a city. Children in poor neighborhoods, workers' voices: the crisis, the layoffs, the need for the recommendations of the Christian Democrats to enter Montecatini. Wealthy men and women binge at the restaurant. Voices of agrarians, forced to leave the earth to make room for the petrochemical. A ballroom. In a puppet theater, a show is staged in which the worker is addressed as "starved". At a course for foremost workers, various compliant testimonies follow one another: Monteshell is a large industry, and no one has any criticisms against it. But another worker, elsewhere, with his face in the shadows, confesses that everyone is afraid to speak, skilled workers get the same pay as simple ones, 400 colleagues have been fired, union activists are "special supervised", and going on strike is a business. 35mm b/w

Brindisi '65

6.0 1966