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Sredni Vashtar

Sredni Vashtar is a 1981 short film, written, produced and directed by Andrew Birkin, based on the short story of the same name written by Hector Hugh Munro. The story concerns a slowly dying ten-year-old boy named Conradin, who lives with his strict cousin and guardian, Mrs. De Ropp. Conradin rebels against her and invents a new religion for himself, which centres on idolising a polecat-ferret he calls Sredni Vashtar; a vengeful, merciless god. The film won the BAFTA award for Best Short Film, and was nominated for an Academy Award for Best Live Action Short Film.

Sredni Vashtar

7.2 1981
The Man Who Married a French Wife and Other Stories

Tom Beauchurch , a successful New England lawyer, takes his wife Ginette to Paris for a second honeymoon. It is a Paris in the throes of the Algerian crisis; a crisis which soon threatens the very foundations of their marriage. A New York bartender refuses to lower his standards even when his boss threatens to sack him. Michael Loomis runs into trouble when he confesses to his beautiful young wife that he can't help eyeing the girls in their summer dresses ...

The Man Who Married a French Wife and Other Stories

NR 1982
The Road to Terror

In The Road to Terror, revolutionaries tell how their dream descended into a nightmare of terror and execution. They speak as exiles in Paris, a city that is preparing to celebrate the glories of the first mass revolution of 1978. Behind its strange images, the struggle for power in the Iranian revolution has followed a pattern uncannily similar to many of the great revolutions of the past: just as 200 years ago in France, the Iranian revolution has gone down the old road from liberation to repression, the road to terror.

The Road to Terror

7.0 1989
Pak Tam Duda

Pak tam duda is a small time businessman who lives in a village. He supplies furniture to a middleman in the city. He is known as Pak Tam Duda because he is a widower in his 40’s. He befriends a bright little boy who becomes his assistant at the workplace. One day, while sending some furniture to the city, he falls in love with a flirtatious woman who works at a furniture shop. Since he is so easily charmed, she decides to cheat him of his money. The honest Pak Tam Duda, however, manages to save himself from being exploited.

Pak Tam Duda

NR 1989
La Galette du roi

In this conventional, broadly comic farce of greed and royal matrimony, nearly bankrupt businessman Victor Harris is marrying Maria-Helena, a princess who comes with a dowry that is made up of one half of her island kingdom. Her father, the cowardly King Arnold III is counting on the money this marriage will bring him. The country is now almost bankrupt because of the king's gambling debts. As Harris and the king look forward to their illusory profits from the royal merger, other characters add some liveliness to the otherwise predictable story.

La Galette du roi

4.5 1986
She's a Very Nice Lady

Two New York women, Kristin and Doreen, live a black and white life, but in color of Gene Tierney, a star of 40’ Hollywood melodrama, while listening to the old songs of Marilyn Monroe. They go from one extreme to the other (from dream to reality, from day to night, from black and white to color), and so travel symbolically through this timelessness. Kristin disappears and Doreen is lost is the big city. Her meetings with Marcel, a filmmaker, then David, a sculptor, accomplish nothing, and she is destroyed by daylight. But her Memory of Gene Tierney triumphs over night and death, and Cinema can continue.

She's a Very Nice Lady

8.0 1982
Guardian of the Night

With an off-beat sense of humor to match its erratic central character, this original comedy-drama features Jean-Philippe Ecoffey as Yves, a young man who works as a cop at night. The catch is that Yves turns to petty crime during the day, partly to impress Aurore (Aurelle Doazan), a nurse he idolizes from afar. His criminal hobby seems hard to understand, since it's doubtful that they will really get him anywhere with Aurore; besides, she already has a boyfriend. Nevertheless, Yves starts out by robbing a post office and ends up trying to run over Aurore's boyfriend, an act which finally gets him into serious trouble.

Guardian of the Night

6.0 1986
La Femme flic

Young police inspector Corinne Levasseur interrogated a dealer without the judge's consent. Following an indiscretion of her lover, the substitute Berthot, Corinne is transferred to a small town in the North who lives under the thumb of a rich industrialist and his family. He is given subaltern tasks. Intrigued by the strange death of a teenager, she stubbornly leads an investigation that allows her to trace the chain of a child prostitution network in which are mixed a notable and his son-in-law. A young investigating judge decides to investigate the case, but he is the victim of pressure ...

La Femme flic

5.9 1980
Jenatsch

A journalist is assigned to interview an eccentric anthropologist who has exhumed the skeleton of Jörg Jenatsch, a revered freedom fighter who was mysteriously murdered in 1639. Initially disinterested, the journalist begins to uncover unflattering truths about the national hero and experiences visions in which he seems to be witnessing events that transpired over 300 years ago. As he obsessively pursues the investigation, his personal life and his grip on reality disintegrate, drawing him relentlessly toward the fatal carnival at which Jenatsch was killed.

Jenatsch

5.2 1987
Jeune femme à sa fenêtre lisant une lettre

Jean-Claude Rousseau's Jeune femme à sa fenêtre lisant une lettre is not only his first medium-length film, but a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe. With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. A minimalist and ascetic expression of cinema: a shot that lasts.»

Jeune femme à sa fenêtre lisant une lettre

5.5 1983