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Venturing from Venice Beach to Watts, Varda looks at the murals of LA as backdrop to and mirror of the city’s many cultures. She casts a curious eye on graffiti and photorealism, roller disco & gang violence, evangelical Christians, Hare Krishnas, artists, angels and ordinary Angelenos.
The difficult and vain attempts of a young woman to rehabilitate the memory of her father, accused of a crime committed by one of his workers...
The painter Honoré Fragonard lives in a sort of beehive surrounded by attractive female models, of which Marianne, his mistress and muse, is the queen. Around her, these young ladies are constantly arguing about which of them will be the next to pose for Honoré. The routine breaks down when one of the young women suddenly dies. Her corpse is then dissected by Cyprien Fragonard under the eyes of his cousin Honoré, who paints the execution of the operation. Marianne, fascinated by this morbid spectacle, also watches.
A recently released safecracker returns to stealing in order to support his family. After several successful thefts, he decides to induct his teenage son into the 'family business'.
After he is dismissed from his umpteenth job, Momo is kicked out of the family home by his fed-up father. He immediately joins his buddy Manu, who is also penniless having just lost his job at a cafeteria. The two decide to ask shady nightclub owner Sammy for a job, and he promptly hires them to transport back two statuettes from Amsterdam. Momo and Manu soon find out that these art objects are stuffed with drugs, but still manage to carry out their mission. They receive one kilo of grass in exchange, which they sell immediately. But while the business is lucrative, they discover that it's not so easy to become a full-fledged drug dealer...
Reel 22 of Gérard Courant’s on-going Cinematon series.
An ongoing series of static shots of train stations around the world.
Ruiz on the film: "I began La présence réelle (The Real Presence) first. I. N. A. had commissioned me to produce a personal vision of the Festival d'Avignon. This became a fiction about the theater because if I had filmed the actual performances at Avignon I would have had to respect their staging, I would not be able to change anything. As such, I wouldn't be doing anything more than a retransmission of Antenne 2 or FR3. And since a lot would have to be paid for rights to each play, it would end up costing as much as a fiction feature. So it is a story about the theater, a bit Rivette-ish. I shot all the exteriors in Avignon, the interiors in Paris a few days later and I finish the film next Tuesday."
A teenager lies to her parents and goes to the South of France instead of studying for the summer. Meeting with her not-so faithful boyfriend and his DJ friend, she discovers her father is also there - with another woman.
When her psychiatrist is killed in an auto accident, his mentally deranged patient and two of her even crazier companions hide out in a house in a rural area where, years ago, the woman had set fire to her parents.
The plot centers around old Beethoven's fixation on the welfare of his nephew, for whom he fought a lengthy custody battle against his brother's former wife. Beethoven thought she was a bad influence on the boy. Sadly, the nephew isn't receptive to Beethoven's "overtures", and resents his boorish uncle's efforts on his behalf. The nephew is a complete nonentity, lacking in both interest and talent. He seems to wish only to be left alone.
French film based on the story Der Findling by german author Heinrich von Kleist.
Teo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.”
Arsène Muselier returns to his home village at the end of the First World War. His only injury is a head wound, which sometimes provokes periods of delirium and fury. As he renews his acquaintance with the people he left behind - his mother, the old farmhand who brought him up after his father's death, his former girlfriend, and many others - he becomes fascinated by the legend of La Vouivre, a creature with the body of a woman who lives in the marsh, surrounded by vipers. One day, Arsène sees the strange woman - she is naked, beautiful, alluring, and he is instantly enchanted by her. Can she be real, or is she merely a creation of his damaged mind...?
Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.
Evocation of the life of Bernadette Soubirous, the eldest of four children, who, at the age of fifteen, experiences a religious vision at the Massabielle grotto near Lourdes.
“Ixe (written X and pronounced EEKS – as it is pronounced in French –, like a scream, a wound) is an imploded, crucified film. Made to be projected on four screens at once, X is drawn and quartered. At the four points of the compass, at the four ends of the cross, War, Sex, Religion and Drugs, the double exposures, the colliding glimpses the eye barely recognizes, the skilful repetitions of themes, remind us that Sex is also the war of bodies, and the pope, the Drug of the people. And the story of this young man, shooting up in order to experience all the horror of the world in front of his TV set, reminds us that the heroin orgy is indeed the subjective locus of the monsters of the modern unconscious.” - Guy Hocquenghem
A César award nominated short feature.
Experimental short by Teo Hernández.
During a ceremony in an orthodox church in Paris, a 40-year-old writer and journalist is seduced by a young man, whom with she will live an extraordinary story of love and passion that will drive them to madness.
Experimental short by Teo Hernández.
Documentary on industrial lubrification.
Model turned top model, Marine dreams of creating her own collection. Thanks to her talents and her ambition, she will try to overcome the obstacles and to transform her dreams into reality. As happiness never comes alone, she will simultaneously live a beautiful love story with a young lawyer she fell in love with.
Paris, end of May 1981. It is the last day of school; the summer vacations are beginning. Moreover, France has just voted for change. The Vercrest family is in turmoil. Richard Vercrest, the father runs an insurance company. Suzie, his daughter is eighteen years old. In general, the relationship between them is excellent. But Suzie is in crisis: she wants to "escape the system". To begin with, she wants to drop out of school and find a job. Richard reacts badly to the unexpected decisions of this girl, who until then had been "gifted". He freaks out and she breaks down. But everything gets better when the father finally follows his daughter in her new path.
Revised as a Chicago gangland tale, this enjoyable Lyon Opera production of Jacques Offenbach's operetta -- originally set in the mountains of Italy -- follows a group of trench-coat-wearing, revolver-carrying mobsters who attempt to rob the Windy City's elite residents. Michel Trempont, Valérie Chevalier, Colette Alliot-Lugaz and Monique Barscha star in this delightful performance, which features beautiful staging and infectious melodies.
A romantic story about a few days from the life of Michel Legrand told by himself.
Two Paris combat gangs fight for a girl who oscillates between these two groups: Asnay and Crazy cats.
In a water world, two men fight for their childhood love.
As the Christmas holidays begin, a group of 10 war-obsessed kids have a wave of inspiration: What if they spend the next two weeks engaged in a simulated war, armed only with shields, wooden swords, snowballs, and a fierce sense of competition? With a bounty chest waiting for the winners, the two sides gradually grow in size, and the war grows in importance, taking over all aspects of their lives.
"Les Compagnons Du Vide" (The Companions of the Void) is a documentary made in 1989 by Claude Andrieux and Gilles Chappaz, broadcast in two parts on the FR3 program "Montagne." The film explores the history of the mountain guide profession through portraits of mountain guides, showcasing the diversity of this high-risk occupation. It also delves into the intimate relationship between the climbing team and the client, using the example of prestigious guides. The documentary follows these teams on major climbs around Chamonix, on Mont Blanc, and on La Meije in the Écrins massif.
Alix Cléo Roubaud, a photographer, describes her images to Eustache’s son Boris. An “essay in the shape of a hoax”, Eustache’s last film wittily questions the relationship between showing and telling as it gradually shifts Alix’s narration out of sync with what we see.
Pierre Cohen, a sophisticated Parisian psychologist, goes to his brother's farm in order to protect it from very hostile local landowners.
Camille (Penelop Schallenberg) is the only child of her unmarried journalist mother Marianne (Veronique Genest). She has never known who her father is, and her mother isn't telling. However, in her rush to get to an assignment in the Middle East, her mother left behind three letters addressed to three men Camille has never heard of. When she opens the letters, she discovers that they exhort each of the men to look after Camille, as they may be her father. Naturally, Camille looks them up, letters in hand. Just as naturally, they get to know one another, squabble over who is the real father, and conspire to break her out of the orphanage she is put into when the authorities find out her mother has become a political prisoner.
A young man and an older woman are prepared for a funeral ceremony, theirs.
In the small town of Louvun, Marie and Léon Besnard live quite comfortably. But on 25 October 1947 Léon passes away. Nobody, including the doctor who issued the burial permit, is doubtful that his death was natural. Nobody except Louise Paniou, a friend of the couple's, who is persuaded that Marie has poisoned her husband.
In this interview with Dominique Noguez, Marguerite Duras talks successively about each of her four short films made in 1979: Césarée, Les Mains négatives, Aurélia Steiner (Melbourne), Aurélia Steiner (Vancouver). She touches briefly on the various subjects dealt with: the return to Césarée of Berenice, repudiated for reasons of state, Jewish wandering, the scandal of the camps in the two Aurelia Steiner. Negative Hands as the colonial data of humanity, a film offered to the blacks and Portuguese who clean up Paris before leaving the place. Marguerite Duras also comments, with excerpts, on the various traveling shots that make up the main plot of each of the short films. And the documentary ends with a few words of epilogue: a real pamphlet by Marguerite Duras against dreams, significantly entitled Work and Words.
Bullfighting, music, medicine, change, and homoerotic possibilities mix in this study of friendship. Francisco is a bullfighter on his way up, so focused even sex doesn't hold his interest. After a minor road accident, he meets a doctor, Manuel, who attends a bullfight, leaving early, retching. His wife, who is also his partner in a string quartet, worries about him: Manuel has a history of breakdown. Manuel, for his part, hates bullfighting and the memories it brings of Franco's Spain. His harsh views undermine Francisco's focus. He accompanies the young fighter to Spain for an important corrida. Will Francisco succeed? And what becomes of this friendship?
A documentary released in 1985 about the Mothers of Place Vendôme.
In 1920, Major Dellaplane, a man of honor and ethics, searches for missing French soldiers. He meets Madame Irène de Courtil, a politically connected Parisian, and their paths cross.
A documentary film about a group of hunters who gather annually to hunt moose near Maniwaki, Quebec.
In an antiquarian, a man buys a leather-bound blank book to use as diary. Once home, he finds the book has started writing itself - with Chapter I detailing everything that happened to him, including the book starting to write itself.
A story of political imprisonment set in a mental hospital where the Stalin state police placed whoever their opponents were.
A story about summer vacation of six young boys and their friends in France during 1917.
VO/ID juxtaposes two separate texts, one in French and the other in English. The texts question art and experimental cinema, the role of the market in shaping aesthetic criteria, and current politics... In each of the texts, words common to the other language appear, creating an indeterminacy of the word to this or that speech. This indeterminacy is increased by the many word games created between the two languages. This results in a double reading: vertical and horizontal, favoured by the word for word. The exposure time of each word depends on the rhythmic of each language, but their appearance in white or black is not subject to it. Faced with these texts, two sounds intervene and otherwise disturb the concentration required by the projected texts. The horizontal reading of both speeches is often in clear contradiction with their meaning. This third visual discourse is playful, brittle, mocking the seriousness of the discourse(s).
In a building on the Boulevard Haussmann in Paris lives ten-year-old Roger, who is surrounded by women - his great-grandmother, his grandmother, and his mother Nicole. Living in an exclusively feminine environment, the boy wishes more than anything else to have a masculine presence around. His dream comes true when he meets Jacques, who's madly in love with Nicole and who is about to completely turn the boy's life upside down.
A humorous glimpse of what happens every morning on the wavy sidewalks of Copacabana Beach. Physical fitness, Brazilian style, with a dash of soccer and hints of Carmen Miranda.
Simon, a Jewish police inspector, arrests Karim, a Muslim, in the bust of a drug smuggling cargo ship, only to realize that Karim is an undercover agent from the military intelligence, whose mission he was not aware of. The two men pursue the narc investigation, which will lead them to confront middle eastern terrorists together.
Images of the filmmaker's visit to Montpellier.
In the year 100, the village of Lutèce was invaded by a Roman troop. The Gauls decide to send their naked women to confuse them.
This analysis is based on an ideological commentary on Renoir's film. From the beginning, the reading, unilateral, gives keys to interpret the characters: "These are shadows returning to the castle". Renoir "paints the lie of a society that no longer believes in its own values".