Marco Ferreri

We thought we'd seen, read, and heard everything there was to see about the Cannes Film Festival, from the glitz and gossip to the scandals and censorship. And yet, Emmanuel Barnault's "Morceaux de Cannes" (Pieces of Cannes), by this leading expert on Italian and French cinema, convinces us otherwise. The third largest event in the world (after the Olympic Games and the FIFA World Cup) reveals its secrets only sparingly, as this film attests. The result of passionate research in the INA archives, these 52 minutes, without interviews or voice-over narration, string together rare and sometimes previously unseen footage. Taken together, they tell a surprising, original, and heartwarming story of the Festival. On the beach, on a street corner, in a restaurant, or in the privacy of a hotel room, these forgotten archives summon the greatest filmmakers, actors, and actresses of the last seventy years, from Jean Cocteau to David Lynch, for an anthology of the Festival's history.

Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son of a post-war German industrialist, is on the way to lie down with his farm's pigs, because he doesn't like human relationships.

A captivating portrait of French actor Michel Piccoli, who has worked with the greatest filmmakers of his time and has built a dazzling career of remarkable merit and success, focusing on his work during the 1970s and his professional relationship with Claude Sautet, Romy Schneider, Marco Ferreri and Luis Buñuel.

The amorous adventures of Andrea Rossi-Colombotti, an army officer who finds pleasure with beautiful women in life-threatening situations.

A modest Neapolitan man meets a young woman with excessive hairiness. He exhibits her at fairs and marries her. It is after marriage that he receives a tempting offer from a French manager.

An idealistic first-time director lives for his art — until he meets a wife of an Italian producer at the Cannes Film Festival. A passionate affair begins, but the couple's romance is tested as they face the temptations of fame and fortune.

A highly stylized surreal farce about the events leading up to Custer's Last Stand anachronistically reenacted in an urban renewal area in modern Paris.

Italian comedy film in three segments

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.

During a Post-Apocalyptic period in the near future the majority of the European population has been wiped out by some sort of undefined plague. Cino and Dora, a young couple, are rounded up by what constitutes the authorities on an isolated temporary base. They are examined and given antibiotics which will protect them for six months, told to pick out a deserted house to live in the area, and use that time to conceive a child.

Six vignettes explore love and desire in Rome, from prostitution and heartache to unwed motherhood and the male gaze.

Mario is a Milan industrialist who is constantly testing balloons to see how much air one can take before busting.

"Droit de Réponse" (Right of Reply) is a French debate program broadcast between December 12, 1981 and September 19, 1987 on the TF1 channel, presented by Michel Polac and produced by Maurice Dugowson. Broadcast live on a weekly basis, on Saturdays from 8.30 p.m., the right of reply has been the source of many controversies, due to the various speakers who have come to present their point of view on the show (which leads to famous scandals , remained in the memory of viewers), but also for the variety and relevance of the topics covered, which ensured the success of the program on the air for several years. On French television, this program is considered by some observers as a “pioneer program in terms of controversy-show or clash, in modern language”.

Single-mom Esme gives her daughter for adoption to her elder brother who immediately goes to America. Twenty-seven years later, daughter Abby goes back to the Philippines to meet her real mom. But Abby's excitement is foiled upon knowing that Esme is loud mouthed and worst nightmare. Days spelled hell for Abby, as she discovers that she and her horrific mother are complete polar opposites.

In this unusual offbeat black comedy directed by Ugo Tognazzi, Giuseppe (Tognazzi) is a middle-aged industrialist obsessed with gadgets. When his nose starts to whistle uncontrollably, he checks into a clinic to resolve the problem. What begins as a minor affliction worsens, and Giuseppe is placed on a different floor as his ailments multiply. The sicker he gets, the higher he goes up in the floors of the clinic, until he is near death's door.

Marco Ferreri: Dangerous But Necessary is a trip through the auteur's singular cosmos - at once supernatural and earthbound. He dropped out of his studies to become a veterinarian, choosing instead to concern himself principally with the human animal, in our corporeal and yearning essence.

A documentary about the Italian cinema as art form and industry.

A mysterious woman takes her daughter on vacation after they've been separated for several months. There, she meets some of the richest and most eccentric people, who are hiding just as much as she is.

16mm short by Mario Schifano.

Italy, 1970. An increasing legion of harmless warriors begins a peaceful struggle for sexual freedom through pornography, shaking and shocking religious authorities and conservative political institutions. They are ironic, happy, crazy. They are dreamers, defenders of definitive communion between body and soul. But they were censored and humiliated. They were mistreated and arrested for demanding loud a new cultural renaissance.

Donne e soldati was an example of a ‘decentralised’ production, far from Rome, something that for the most part Italian cinema didn’t fully succeed in achieving until the 1990s. . In many ways the film, which is both Picaresque and anti-heroic, was too far ahead of its time, and it is often considered the precursor to Monicelli’s L’armata brancaleone. This time out, Ferreri takes the reins as producer of the ill-fated undertaking (the two directors will never make another film); however, Donne e soldati, apart from marking Ferreri’s estrangement from Italian cinema for a number of years, today appears to display earthy and carnivalesque elements that will subsequently influence certain aspects of the Milanese director’s vision.

Story of a man with a double personality, on one side his character is honest and sincere, which makes him appreciate reality and participates with sorrow in the tragedies of our times: his other side is that of a dreamer and he identifies himself with Swift's hero Gulliver.

Rodolfo and Petrita each live in separate quarters in dilapidated Madrid, while looking to have a little apartment (or "pisito", in Spanish dialect). Unfortunately their low salaries prevent them from acquiring one. Soon, Rodolfo's co-workers urge him to marry the old and frail Doña Martina, who is the main tenant in the apartment he boards in. According to Spanish rent-control law, he could inherit the lease from his spouse. Thus begin his misgivings, and Petrita's.