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Valparaiso

In 1962 Joris Ivens was invited to Chile for teaching and filmmaking. Together with students he made …A Valparaíso, one of his most poetic films. Contrasting the prestigious history of the seaport with the present the film sketches a portrait of the city, built on 42 hills, with its wealth and poverty, its daily life on the streets, the stairs, the rack railways and in the bars. Although the port has lost its importance, the rich past is still present in the impoverished city. The film echoes this ambiguous situation in its dialectical poetic style, interweaving the daily life reality (of 1963) with the history of the city and changing from black and white to colour, finally leaving us with hopeful perspective for the children who are playing on the stairs and hills of this beautiful town.

Valparaiso

7.0 1964
Erotissimo

Annie is a middle-age wife, still sexy and pampered by her husband, Phillippe, who is the owner and general manager of a dynamic company. Under the deluge of sexy Swedish movies, sexy advertising on the streets, sexy intimate clothing in ladies' shops, and even talks about sex and marital infidelity with her mother and female friends, Annie starts feeling left aside by her husband, and trying to attract in a number of ways - and failing. It's not the all-purpose secretary at the office that is keeping him late, it's a tax expert that, asking the most innocent questions, is finding out how Philippe can manage a company without profits, and still manage a home, may be two... with high quality levels.

Erotissimo

5.7 1969
Who Stole the Body?

Edouard and Félix work in a real estate agency. One day, they are threatened with dismissal if they don't manage to sell a very isolated house to an elderly, silver and somewhat unusual Englishwoman. In the house, they discover a corpse. The visit is spent dragging the corpse from room to room, cupboard to chest, so as not to frighten the otherwise impressed buyer. But the corpse disappears. He has to be found before the deed can be signed. The two salesmen become detectives, tracking down the dead man's many female acquaintances. All the seducer's conquests are sifted through, to find the one who left her jewels at the scene of the crime.

Who Stole the Body?

7.0 1963
Galia

Newly arrived in Paris, Galia lives in a small apartment near Notre-Dame cathedral. One evening, whilst walking along the banks of the River Seine, she saves a young woman from drowning. The woman, Nicole, tells Galia that she intended to drown herself, having left a suicide note for her husband, Greg. Having settled Nicole in her apartment, Galia sets out to recover the suicide note, but waits so that she can observe Greg’s reaction. When Greg appears unmoved by the note, Galia decides to wait for him at the art gallery where he works...

Galia

5.2 1966
Copacabana Palace

For three days at the Copacabana Palace in Rio de Janeiro, amorous cross-fertilizations are intertwined with petty tricks against the backdrop of the famous carnival festivities. Three (sympathetic) accomplices are beaten to a punch in the hotel vault; three charming stewardesses are looking for entertainment, but their three Carioca host, musicians Tom Jobim, Luiz Bonfá, and João Gilberto, are married; a man, separated from his wife, wants to catch her in the act of adultery.

Copacabana Palace

5.0 1962
Paparazzi

Paparazzi explores the relationship between Brigitte Bardot and groups of invasive photographers attempting to photograph her while she works on the set of Jean-Luc Godard's film Le Mépris (Contempt). Through video footage of Bardot, interviews with the paparazzi, and still photos of Bardot from magazine covers and elsewhere, director Rozier investigates some of the ramifications of international movie stardom, specifically the loss of privacy to the paparazzi. The film explains the shooting of the film on the island of Capri, and the photographers' valiant, even foolishly dangerous, attempts to get a photograph of Bardot.

Paparazzi

6.7 1964
Les baratineurs

A precious work of art from the Italian Renaissance is stolen and passes through many hands before ending up in the shed of the farmhouse of Mr. and Mrs. Dujardin, fishmongers, who are inaugurating their luxury fish shop that very day. But the antique dealers, the free-riders and the bargain-hunters are there. They are jealously careful not to pass on the fruit of their clever investigations to their rivals, for all of them, after a picturesque treasure hunt, know that the Dujardin family own the famous Duranti altarpiece. But where have they hidden it themselves?

Les baratineurs

5.0 1965
Guns for San Sebastian

Leon Alastray is an outlaw who has been given sanctuary by Father John, whom he then escorts to the village of San Sebastian. The village is deserted, with its cowardly residents hiding in the hills from Indians, who regularly attack the village and steal all their supplies. When Father John is murdered, the villagers mistakenly think the outlaw is the priest. Alastray at first tells them he is not a priest, but they don't believe it, and an apparent miracle seems to prove they are correct. Eventually, he assists them in regaining their confidence and defending themselves.

Guns for San Sebastian

7.0 1967
The Seven Deadly Sins

Seven directors each dramatize one of the seven deadly sins in a short film. In "Anger," a domestic argument over a fly in the Sunday soup escalates into nuclear war. In "Sloth," a movie star would rather pay someone to tie his shoe than bend over to do it himself, and he can't be bothered to accept a starlet's sexual favors. In "Gluttony," a peasant family on its way to the funeral of a relative who died from indigestion stops regularly to eat and drink en route, arriving in time to eat some more. In "Greed," a high-class prostitute refunds the price of a cadet's lottery ticket. In "Pride," an unfaithful wife finds reason to reform. And so on through lust and envy.

The Seven Deadly Sins

5.9 1962