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The Bat

The delightful Johann Strauss comic opera Die Fledermaus was mercilessly lampooned in this truly bizarre production. For starters, a framing device has been added: After appearing in 300 consecutive appearances of Fledermaus (which translates as The Bat) the lead tenor (Georg Alexander) imagines that he's seeing bats everywhere. Driven a bit over the edge by all this, he falls asleep and has a nightmare about the opera, with a group of non-singers cast in the leading roles. The original libretto about romantic assignations, political imprisonments and mistaken identity is burlesqued to the hilt: at one point, the hero finds out that his prison cell is surrounded by rubber tubes!

The Bat

4.3 1937
Aïcha

A few miles from Paris, on the other side of the northern ring road, stands a ghetto neighborhood with countless rows of dilapidated apartment buildings, their concrete crumbling and iron rusting. A multiracial community has long been rooted here, while most native French families have deserted the area. In tower 216 lives a "model" family of Algerian origin, the Bouamazzas. Our heroine, Aïcha, 25, the eldest daughter, is held up as an example by the whole community. But Aïcha can no longer bear the weight of the community: she wants to spread her wings, gain her independence, and finally cross the Rubicon.

Aïcha

6.3 2009
Michou d'Auber

Set in France during the struggle for Algerian independence, Messaoud's mother is terminally ill and his father, needing to work long hours in the factory, can't look after him, so decides to put him and his older brother Abdel in foster care. Sent to the countryside, Abdel has to work on a farm, but Messaoud is taken in by a childless woman, who conceals his Arab origins from her fiercely Gaullist ex-army husband. Re-named Michel/Michou, and with his hair comically dyed blond, the young boy quickly steals the hearts of both foster-parents, and eventually is instrumental in saving their troubled marriage.

Michou d'Auber

6.4 2007
Cavalleria rusticana

Franco Zeffirelli directs these two legendary La Scala productions telling tragic tales of jealousy. Mascagni's Cavalleria Rusticana features performances by Elena Obraztsova, Plácido Domingo, and Renato Bruson. Leoncavallo's I Pagliacci stars Teresa Stratas, Plácido Domingo, and Juan Pons. Both are conducted by George Pretre. This production of Pagliacci earned director Franco Zeffirelli the coveted Emmy as Best Director in the category of Classical Music Programming.

Cavalleria rusticana

8.5 1982
Paternité : une métamorphose décryptée

Becoming a father is an extraordinary adventure in a man's life, but it is also a real physiological metamorphosis that science is only just beginning to reveal. Researchers from multiple disciplines are lifting the veil on these changes taking place in men who are in contact with young children, and their discoveries are astonishing. By tracing the thread of evolution, the film reveals that these deep, long-ignored bonds between men and children are very ancient. And that they are just waiting for the right context to fully express themselves.

Paternité : une métamorphose décryptée

5.3 2025
La Bohème

Giacomo Puccini's immortal opera, in a high budget feature-film version directed by Academy Award nominee Robert Dornhelm, stars opera's 'Golden Couple', Rolando Villazon and Anna Netrebko as the protagonists, Rodolfo and Mimi. The chemistry between them is electric, unrivalled in the theatre today. Russian soprano Anna Netrebko is not only beautiful but has a marvelous voice and technique; Mexican tenor Rolando Villazon, has a wonderful voice and an incredible charisma. The director not only wanted to remain steadfastly faithful to Puccini's design but also document two of the leading singers of the modern age rather than embarking on a 'trendy' contemporary re-creation.

La Bohème

8.8 2008
The Drunkmen’s Marseillaise

In the summer of 1961, a group of young Italian anthropologists made a clandestine journey through Spain, in order to record popular songs that supported anti-Franco resistance. As a result of their work, they were prosecuted and their recordings were censored. Sixty years later, and guided by Emilio Jona, aged 92, the last living member of that group of travellers, we recover the unpublished recordings and reconstruct the journey, today, across an emotional and political landscape, regaining historical memories through these songs, as relevant today as they were then.

The Drunkmen’s Marseillaise

8.0 2024