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We Are All Murderers

Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.

We Are All Murderers

6.7 1952
Prelude to Fame

While holidaying in Italy, Nick Morell, son of John Morell, a famous English philosopher and amateur musician, becomes friendly with young Guido, and Morell discovers the boy has an extraordinary instinct for orchestration and a phenomenal music memory. A neighboring couple, Signor and Signora Boudini become aware of the boy's talents, and she appeals to his parents to let her educate him musically. Torn by their love for their son and, they feel,the duty to let the world hear his talent, they consent.

Prelude to Fame

6.8 1950
Queen Margot

Marguerite de Valois, daughter of Catherine de Médicis, celebrates her wedding with Henri de Navarre. Officially, it's a rapprochement between the League and the Huguenots. In fact, it was an opportunity to bring all the Huguenots to Paris and kill them all at once. King Charles IX fails in his attempt on Coligny's life. Queen Margot tries to save her husband from the St. Bartholomew's Day massacre by preventing the annulment of his marriage, forcing Henri to share her bed. Two knights from opposing camps are wounded and, saved în extremis, are hidden together by the queen and her cousin. Margot falls in love with one of them, but has to run to warn her husband of a new attack...

Queen Margot

7.1 1954
Battle in Peace

András Beke, a tractor driver, enlists as a conscript, but he does not want to accept the army's rules and regulations, he wants to show that he is an individual here too. During the marching drill, he goes on an exploratory expedition, drinks from the forbidden water and commits other offences. But the educational punishments make him realise that in the army, instead of being a hero, you have to learn, work hard, stand up for yourself and show solidarity. His re-education is aided by his commanders and peers, but love also plays an important role...

Battle in Peace

9.0 1952
Summer Clouds

A war widow with a young boy manages a farm with her bossy mother-in-law. When a reporter comes to interview her, the two begin an affair. He turns out to be married and won't leave his wife. Her older brother tries to marry off his children and hang on to/ extend his farm through an advantageous marriage in the face of threatened land confiscation and the desire of his children to get comfortable urban jobs instead of the backbreaking work in the paddy fields under parental control.

Summer Clouds

7.6 1958
Le Psychodrame

Roberto Rossellini shot the film Psycodrame in 1956 for the Center d'études de radiotélévision. The staging of three "psychodramas" - organized by Professor Jacob Levi Moreno with Anne Ancelin Schutzemberger - gives Rossellini the opportunity to reflect on what can become a particularly congenial acting technique, and, in general, on the potential of didactic tv. Director of photography a very young Claude Lelouche. Digital restoration by the Archivio Nazionale Cinema Impresa - CSC and Institut National of l'Audiovisuel in collaboration with Museo Moreno.

Le Psychodrame

6.0 1956
Blind Date

Dutch painter Jan-Van Rooyer hurries to keep a rendezvous with Jacqueline Cousteau, an elegant, sophisticated Frenchwoman, slightly his elder, whose relationship with him had turned from art student into one of love trysts. He arrives and is confronted by Detective Police Inspector Morgan who accuses him of having murdered Jacqueline. Morgan listens sceptically to the dazed denials of Van Rooyer as he tells the story of his relationship with the murdered woman. Morgan, after hearing the story, realizes that the mystery has deepened, and it becomes more complicated when the Assistant Commissioner, Sir Brian Lewis, explains that Jacqueline was not married but was being kept by Sir Howard Fenton, a high-ranking diplomat whose names must be kept out of the case.

Blind Date

5.9 1959