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Le Bal du comte d'Orgel

Nobles try desperately to cling to the crumbling aristocracy in the days following World War I. The Count (Jean-Claude Brialy) and his Countess Mahe (Sylvia Fennec) delight in throwing lavish costume balls. The couple develops a friendship with a young boy who delights in the parties thrown by the noble couple. Love soon blooms between the Countess and the boy as she searches for something more than a string of endless parties and social affairs. The masquerades are an attempt to freeze time and hold on to the nostalgia of a bygone era. For fear of losing her, the Count allows the Countess to continue her love affair.

Le Bal du comte d'Orgel

5.8 1970
Dear Louise

Louise lives alone and seems to like it that way. She has been through a divorce and the recent death of her mother. Recently, she has moved to Annecy, a moderate-sized city, to take work as a schoolteacher. She encounters a much younger man, Luigi, an Italian who is down on his luck. Though he moved to France to find work, he was robbed of his money and papers and is stranded. When he helps her bury her dogs, which her neighbour has poisoned for barking, their relationship grows to a new level.

Dear Louise

5.5 1972
Muhammad Ali, the Greatest

Universally accepted as a true icon of the 20th century, Muhammad Ali’s phenomenal achievements spanned sport, politics and religion. One man – photographer William Klein had comprehensive access to the events that shaped Ali’s legend. In 1964, the young gregarious Cassius Clay successfully defeated the seemingly invincible Heavyweight Champion of the World Sonny Liston – the manner of Clay’s victory and his amazing persona made him an instant superstar. Through this incredible period, and Clay’s subsequent rematches with Liston, William Klein enjoyed unrivalled access top Clay’s camp – witnessing at first hand Cassius Clay becoming Muhammad Ali and angering the American people with his allegiance to Islam. Forward to Zaire 1974, and the return of Muhammad Ali to the world stage to face another invincible champion George Foreman. As Ali reclaimed the crown for a second time, Klein was ever present, capturing the full story at close quarter.

Muhammad Ali, the Greatest

6.0 1974
Viper in the Fist

Jean, nicknamed Brasse-Bouillon, and his brother Ferdinand live with their paternal grandmother, who is responsible for their upbringing. But when their parents returned from Japan, they settled in Belle-Angerie and resumed their role with the children, while their grandmother had to leave for cousins. The boys soon come up against the contempt of their mother, Marthe. Faced with this shrew, whom he nicknamed "Folcoche" (a contraction of "madwoman" and "pig"), Jean decided to join the resistance.

Viper in the Fist

7.4 1971
Esmeralda

With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondary in the filmmaker's work, whose purpose is the constitution, by interposed myths, of a baroque cinematographic language. From this point of view, he joins the approaches of other contemporary filmmakers like Bene or Schroeter. In Esmeralda, he introduces masks from his creation to work on the physical and not only the filmic material. But Hernandez adds to his series of aesthetic variations of "stock-shots" of war plans, desolations, genocides, which brutally fall within the visual framework of his film. The filmmaker thus points out the cracks that overflow the myth in its darkest areas: the historical and social reality that obsesses us, that terrorizes us every moment.

Esmeralda

7.0 1977
You Won't Have Alsace-Lorraine

Whilst King Gros Pif I amuses himself at debauched banquets, his musketeers pursue their tax-collecting duties with a malicious zeal. Goaded by the court jester (who is also the Queen’s lover), the ministers decide to put an end to this regime and have the King locked up. Hearing the news, the famous Chevalier Blanc comes to his rescue. Aided by the knight and his cousin Lucienne, the King flees to Flanders, where he devises a scheme to win him back the throne of France...

You Won't Have Alsace-Lorraine

4.9 1977
Beaujolais Nouveau Is Arrived

Beaujolais Nouveau Is Arrived, directed by Jean-Luc Voulfow in 1978, is a comedy inspired by the novel by René Fallet that depicts an incredible adventure set against a backdrop of French rurality and popular friendship. The film tells the story of Camadule, an enigmatic and endearing character, respected in his small café "Chez Gaston", where he shares anecdotes and mysteries. One day, his friends entrust him with the sacred mission of fetching several barrels of Beaujolais Nouveau, supposedly belonging to an old countess with whom he is favored. To accomplish this quest, he is joined by the Captain, a former soldier disillusioned by life and its failures, and Kamel, an immigrant worker, all driven by the hope of the new wine and the dream of a collective adventure.

Beaujolais Nouveau Is Arrived

4.2 1978
Women in the Sun

August 15, the vacations. Lots of people on the roads. And in particular, a young man on a motorcycle heading for the Midi. There, in a comfortable villa, he meets Emma: middle-aged, with charming children, money and a young girl's heart. In this villa, couples spend comfortable vacations. While the husbands discuss cars, play cards or wrestle with maids, the wives laze in the sun, make themselves beautiful, gossip, scratch each other's nails and dream, above all, of what their lives could be like with another companion. Each one takes stock of who she is and what lies ahead. For Emma, it could be a new start with the young man on the motorcycle she's been thinking about all day. But in the evening, everything goes wrong: a couple breaks up and a phone call announces that the expected guest has been involved in an accident; dead or injured, we don't know! For Emma, reality reweaves its torn web.

Women in the Sun

9.0 1974
L'école sauvage

In a school near Paris, a new experiment is being tried: to allow each child to express him or herself. In the smaller classes, group activities were dispensed with: each child did what interested him or her, according to temperament and desire. In other classes, grades are unknown and there is no fixed program; in English, the teacher lets the pupils work and converse according to their own style and rhythm; in a natural science class, we see a 10-year-old child expounding a theme on her own and answering questions from her classmates. Artistic activities also feature prominently: theatrical improvisation and orchestra formation, among others. The creation of a council allows children to submit initiatives, discuss them and organize themselves around their suggestions.

L'école sauvage

9.0 1973