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Vice and Virtue

1944 : Occupied France. Juliette (Vice) is Wehrmacht General Bamberg's mistress and enjoys a privileged life. Her younger sister Justine (Virtue) is about to marry Jean who is in the Resistance and come to Juliette for help. Both sisters end up at "la Commanderie", where Juliette becomes SS Colonel Schonberg's mistress and Justine is detained with other pretty girls who must satisfy the sexual needs of high-ranking nazi officials. Inspired by "Justine ou les infortunes de la vertu" by the marquis de Sade

Vice and Virtue

5.6 1963
Daggers Drawn

Via Something Weird: "Four men representing the world’s great criminal organizations unite to locate a cache of sunken treasure. The treasure is in fact a fortune in diamonds and secret documents that was lost by the Germans in the seas off Monte Carlo during the war. Following their every move are representatives from every secret agency in the world, amongst them, the British, the Russians, the Germans, and the Americans, all seeking the important papers contained within the treasure."

Daggers Drawn

6.1 1964
Tales of Paris

A film made up of four sketches. In Marc Allégret's Sophie, a naive high-school girl invents a love affair with her mother's lover. But it's a guitarist with whom she falls in love. In Françoise, by Claude Barma, a young woman returning to France after living in the United States has an affair with her best friend's lover. In Antonia, by Michel Boisrond, a middle-aged woman tries to convince her ex-lover that she still has many assets to seduce. In Ella, by Jacques Poitrenaud, a Pigalle dancer meets a man in a cab.

Tales of Paris

5.5 1962
The Crab Basket

Charles is a student in Strasbourg. Abandoned by Liliane, his fiancée, who has inexplicably given up on marriage, he moves to Paris, where he decides to pursue a career in cinema. He founded a film club and became a journalist, then assistant to a famous director. Little by little, he came face to face with the various compromises inherent in this professional milieu. After writing a screenplay about his experiences, he enlists the help of Chantal, a young actress, to bring his film project to fruition.

The Crab Basket

9.0 1960
The Spy

The British Admiralty is worried: several cargo ships carrying troops have mysteriously jumped off Gibraltar. The Admiralty calls in the Intelligence Service to find out the cause of the destruction before new units arrive. Lieutenant Jackson, of the Marine Infantry Regiment stationed in Gibraltar, spends all his duty time in Tangier, where he is attracted by his love of poker and a beautiful dancer, Lola. Despite the objurgations of his general and the tender friendship of Cathie, his general's daughter, he can't stop playing and loses a very large sum one evening.

The Spy

6.0 1964
Voyage of Silence

Director Christian De Chalonge uses a docudrama-styled approach to tell the lonely story of Portugese workers in France. In hopes of avoiding the Army, a boy leaves Portugal bound for Paris to find a job. He meets other Portugese upon his arrival but spends most of his time wandering the streets of Paris when his friend cannot be found. The tedium of the feature overshadows the good intent to bring attention to the plight of immigrant workers struggling to survive in a new country.

Voyage of Silence

7.3 1967
A Matter of Resistance

In the countryside near Normandy's beaches lives Marie, unhappy. It's 1945, she's married to Jérôme, a somewhat fussy milquetoast, diffident to the war around him and unwilling to move his wife to Paris, where she longs to live, shop, and party. A German outfit is bivouacked at Jérôme and Marie's crumbling château because its commanding officer is pursuing Marie. She's also eyed by a French spy working with the Allies as they plan D-Day. He woos her (posing to the Germans as her brother) and, in his passion, forgets his mission. Heroics come from an unexpected direction, and Marie makes her choice.

A Matter of Resistance

6.8 1966
Et la femme créa l'amour

Laurent, a young playboy, lives off his charms, maintained by wealthy women of the world. He becomes the lover of Sonia, a young woman painter, a lover at heart of course. But Sonia has a provincial friend, Clotilde. One day, Clotilde pays Bona a visit. As she has just come into a large inheritance, Laurent courts her and marries her. The young couple embark on a misguided life of easy pleasures and questionable company. Clotilde's nerves crack at this game. Among Laurent's acquaintances, François, a doctor, treats her in his clinic: sleep cure, rest, etc. Meanwhile, Laurent distracts himself with other women. But Clotilde, convalescing, refuses to resume life together. Laurent turns to his former mistress, Sonia.

Et la femme créa l'amour

3.3 1966
Amelie or The Time to Love

The vagaries of love are often tragic, as Amelie ou le Temps d'Aimer seems to say. Directed by Michel Drach in his second try at a feature-length film, the well-wrought romance revolves around the love that develops between Amelie (Marie-Jose Nat) and her cousin Alain (Jean Sorel). Amelie is an orphan who lives with Alain and his family on an island off the coast of France. Alain has dreams of working as a seaman, while Amelie works for Alain's father. The budding romance between the two takes a nose-dive when Alain falls for a glamorous actress who shows up on the island one day. Not mature enough yet to make a wise choice, Alain's betrayal of Amelie turns out to be a grievous mistake.

Amelie or The Time to Love

5.5 1961
Istanbul

All of Pialat's Turkish films are uniquely interested in the country — especially Istanbul — as it was, not just as it is at the precise moment that Pialat is filming it. History informs these films in a big way, with the voiceover narration (which incorporates excerpts from various authors) introducing tension between the images of the modern-day city and the descriptions of incidents from its long and rich history. Istanbul is probably the most conventional documentary of Pialat's Turkish series, providing a general profile of the titular city, its different neighborhoods, and the different cultures and ways of living that coexist within its sprawling borders. As the other films in the series also suggest, Pialat sees Turkey, and Istanbul in particular, as a junction point between Europe and the East, between the old and the new, between history and modernity.

Istanbul

7.0 1964
The World's Most Beautiful Swindlers

Five swindle stories, taking place in five international cities: Tokyo, Japan ("Fumiko's Five Benefactors" by Hiromichi Horikawa); Amsterdam, The Netherlands ("A River of Diamonds" by Roman Polanski); Naples, Italy ("The Road Map" by Ugo Gregoretti); Paris, France ("The Man Who Sold the Eiffel Tower" by Claude Chabrol); and Marrakesh, Morocco ("The Confidence Man" by Jean-Luc Godard). Godard's segment was not included in the original French cinema release, and Polanski's segment was not included on the 2016 home disc release.

The World's Most Beautiful Swindlers

5.4 1964
Bassae

"I was interested by the fact that some old guy, after the Parthenon’s glamour, devoted himself in a much smaller temple, where there was no white marble, no nothing. All Greek temples are dedicated to Apollo etc, and this particular one was not dedicated to anyone and is in a place where there never was a city nearby, in a kind of wasteland, in a ditch. But, just by going up a bit –you are in the centre of Peloponissos- on a clear day, you can see the sea on both your left and right. I went back there, at least six, seven or eight times, as if I wanted to think or find myself. So, at the temple in Bassae, I made a short 10 minute film and I was lucky enough to encounter two days of clouds and mist between the columns."

Bassae

8.1 1964
The Lovers of the France

Seeing an opportunity to make a financial recovery for the family, a nobleman attempts to wed his son to his wealthy friend's daughter. His plan is to send the boy for a cruise on the SS France with the prospective female. Upon arriving to meet the lovely girl, the young man switches places with his valet. Unbeknownst to him, however, is the fact that the girl has pulled a similar deception. Though Jean-Marc Ripert is responsible for much of the cinematography in this New Wave comedy, it is Francois Reichenbach who handled the camera for many of the ocean-liner scenes.

The Lovers of the France

9.0 1964