Bulle Ogier

An upper-class sextet sits down to dinner but never eats, their attempts continually thwarted by a vaudevillian mixture of events both actual and imagined.

Jean and Sara have been living together for 10 years. When they first met, Sara was living with François, Jean’s best friend and an admirer from back when he played rugby. Jean and Sara love each other. One day, Sara sees François in the street. He does not notice her, but she is overtaken by the sensation that her life could suddenly change. François gets back in touch with Jean. For the first time in years. He suggests they start working together again. From here on, things spiral out of control.

Julie, a daydreaming librarian, meets Céline, an enigmatic magician, and together they become the heroines of a time-warping adventure involving a haunted house, psychotropic candy, and a murder-mystery melodrama.

After breaking into a house he believes is empty, thief Olivier is caught by the owner, Ariane, who turns out to be a dominatrix. Improbably falling for her, Olivier returns periodically, and an impulsive romance blossoms despite Ariane's profession. Soon Olivier becomes more familiar with her work, even joining in on occasion. However, when he discovers that Ariane has a son, he attempts to "fix" her, hoping to give her a better life.

A has-been French filmmaker wants a Hong Kong actress to be the heroine in a rendering of Les Vampires.

Okay, Marie is a little tired of the insouciance of her husband Sam, framework sup unemployed for 2 years. Agree, it is very tempted to be seduced by this beautiful stranger who made him the Court. Okay, there is also the daughter piano competition... If this balance light and crazy about standing, an unexpected event throws the family on an even crazier way.

Confusing realities surface in this paranoid film dealing with the fragile nature of a young woman recovering from rape and an apparent attempted suicide. In one reality, she is a killer destroyer of men. In another she is the new wife on a Jamaican honeymoon with her husband (William Baldwin), who is trying to help her recover. Which is real is the question as the story unfolds.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

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.

This satire concerns three French singing idols and their attempt to stay in the public eye. A press conference, backstage hedonism, psychedelia, manipulative managers and disc jockeys are portrayed as the pop culture is thoroughly and effectively lampooned in this independent feature.

Four wedding anniversaries serve to chronicle the beginning and end of a thirty-year marriage.

A journey in the company of Bernadette Lafont, French Cinema’s most atypical actress. Tracing her career from pin-up girl, to New Wave model of sexual freedom, to drug-dealing granny in the film Paulette, by way of La Fiancée du Pirate and Les Stances à Sophie, this film pays tribute to her extraordinary life and artistic odyssey. Her grand-daughters, Anna, Juliette and Solène, revisit the dreams of Bernadette, in the family home in the Cevennes region where they, like her, grew up. Her close friends, Bulle Ogier and Jean-Pierre Kalfon, reminisce on their artistic and human complicity. Throughout the film, Bernadette Lafont in person, with her inimitable character actress voice, re-evokes a life in cinema marked with insolence, courage and freedom.

Anna, Joyce, Claude, and Cécile are four young actresses sharing a Paris apartment while attending intense acting workshops led by their demanding teacher Constance. As they rehearse scenes and navigate the tensions of living together, their personal lives begin to grow complicated when Joyce becomes involved with a mysterious older man whose presence slowly pulls the others into a web of secrets and suspicions, blurring the boundary between the roles they perform and the lives they're actually living.

Viviane, a French Consul's wife, is in New Guinea to find exotic feathers for export to Paris. She encounters four European travelers who are en route to "La Vallée": The Valley, high in the Guinean mountains, is shown on maps as 'obscured by clouds' and is beyond their previous experiences. Viviane joins their trek to find rare feathers and soon becomes entwined in their journey. Their extended stay with the Mapuga tribe brings a denouement between western and indigenous values before their final quest toward the 'Valley of the Gods'.

In a small Breton town, a 10-year-old girl is found murdered. René, her art teacher, a professional painter, is the last person to have seen her alive. The inspector in charge of the investigation immediately questions him. In this small provincial town where people all know each other and regularly meet at the Bar des Amis, René is increasingly unsettled by the other inhabitants' suspicions and by the inspector's investigation. Children stop coming to him for lessons. His wife, Viviane, a district nurse, protects him and supports him with her love. However, a self-centred media-star writer adds to René's confusion...

Poupée and her (so-called) brother Paulo share an apartment in Paris. They dream of becoming actors. In the meantime, life goes on, nothing happens, until Poupée meets François.

A troubled marriage is tested by the couple's involvement in a theatrical production of Racine’s Andromaque.

Complications abound in this French film, which tells the story of a filmmaker who is attempting to put his real life into a movie; his interactions with the people in the movie he is filming create reverberations in his "real" life, although the past remains unchanged. Among the complications is his growing regard for the woman who plays his cinematic wife. She may wind up replacing his actual wife in real life. One of the highlights of this film is the insight it gives into the actual mechanics of filmmaking.

A genuine performance film as Bernadette Laffont and Bulle Ogier engage, with reckless abandon, in a flurry of senseless destruction in a house at night. Somewhere between a hallucination and a nightmare. Both the explosive soundtrack and narration that accompanies the mayhem was provided by François Tusques.

Aging beautician Angèle, already wounded by a long-ago romance, gets awkwardly dumped at a train station. Witnessing how she turns around a humiliating situation, younger sculptor Antoine becomes so smitten that he breaks up with his fiancée and sets out to win Angèle's heart. Meanwhile, Angèle attempts to quash the budding romance of her young co-worker, Marie, and a much older widowed client, despite their obvious rapport.

Two enigmatic women, both with a hidden but shared motive, separately arrive in Paris. As they navigate the city and their search progresses, various characters become entangled within their conflict, one which increasingly comes to take a fantastical turn. These characters too, driven by their own desires, strive for their own goals in the fight. From a Paris, drenched in an otherworldly ambiance, a tale of desire and power emerges through mystery.

When Antoine returns to the island of Noirmoutier, secrets kept in the past resurfaces and threatens to change his family’s present.

A young man, Lagardère, discovers that a plot is afoot to assassinate the Duke of Nevers. He warns him and flees with his daughter, Aurore. Fifteen years pass. Lagardère has raised Aurore as his own, but her mother seeks her out and has her abducted by her men. With the help of two friends, Lagardère rescues the girl and confronts her kidnappers.

A gay young man is recruited into an illicit love triangle to watch a much older man’s sexual liaison, but ends up witnessing what turns out to be his murder. The next day the young man's opera diva mother informs him that his estranged father has been in Paris... until the previous night when he was murdered. Seeking help with a psychiatrist, the young man comes across an eccentric actress who has come totally unhinged by the death of that psychiatrist, the infamous Docteur Rey. At first mistaking her for the doctor, the young man embarks on a madcap mystery, reminiscent of an Agatha Christie novel, with Paris as the backdrop.

A middle-aged sales rep drops everything to track down the killers of his cop friend. Two years earlier, an older gambler forms an intense bond with a naive young man, who changes his name to please him.

A filmmaker finds creative freedom more elusive than he imagined in this ironic comedy-drama. Tired of the state-appointed producers and censorship in his homeland, Soviet Georgia, Niko decides to move to France, only to find that he has merely traded one type of interference for another.

Paulina leaves the apartment where she lives with her two brothers, Nicolas and Olivier. Her departure is mark by chaotic and sometimes brutal confrontations. Thrust into a world of madness and violence (or is it gaslighting?), Paulina is shuttled from a psychiatric institution to a brothel, while her brothers become resistance fighters in some enigmatic version of France.

The film concerns the famed 19th century French writer, proto feminist George Sand, in discussion with the new early 1970s feminist movement and a critique of the limitations of her progressivism.

Véra Cabral, an emergency psychiatrist, is called in to help Giselle Leguerche, who has been incarcerated for murder. The inmate, who is about to be released and has no previous history of prison life, commits the irreparable act of murdering a female prison guard and taking an infant hostage. After resolving the situation, Véra Cabral is entrusted with the prisoner's psychiatric expertise. An investigation into Giselle Leguerche's past then begins, leading the psychiatrist down unexpected paths linked to the prisoner's past.

Bisexual attorney Alain is bedding his female boss, his murderer client, the client's hairdresser girlfriend, and a precocious boy who knows what he wants and tries to convince Alain that he can 'have it all'.

38 years after the events in the Luis Buñuel classic Belle de Jour, Henri Husson thinks he sees Séverine one night at a concert. He follows her and makes her face her past and then takes a slow revenge on her.

An avant-garde exploration of the themes of high-art vs. low-art conflict. The film begins with the bleak slideshow of Almaty architecture with the robotic french voice narrating something in the background. After that, the director begins to dance while the texts suggests its own analysis and theories. Finally, the film closes with a visual collage blending footage from indie web series, french new wave films, archival footage of Cannes, and personal footage of milk being microwaved.

In 1917, the First World War is raging. Julien is from Luxemburg, so instead of having to go to war he studies piano in Paris. One day his friend Jacques, also a musician and now a fighter pilot on the front, invites him to spend a few days in his family's empty house in Bray. The housekeeper, a beautiful stoic woman lets Julien in, but his friend is late and he is obliged to wait. In the meantime, he starts reminiscing of the pre-war days spent with his friend and Jacques' girlfriend Odile.

One of Werner Schroeter's most important and inventive works, this threadbare evocation of Jean Genet's notorious Querelle depicts the erotic adventures of two sailors through the world's seaports in the manner of a cut-rate silent movie.

A cuckolded husband is oblivious to his fed-up wife and her lover in this farcical menage à trois.

While two theater groups rehearse plays by Aeschylus, two solitary individuals wander the Parisian streets hustling the populace for cash.

A wildly anarchic satire of guerrilla terrorism in which a band of leftist radicals inadvertently become puppets of the West German government, which uses them to justify its authoritarian policies.

An English novelist is lured, with disconcerting and disorienting results, into purchasing a crumbling mansion by what he imagines are the deliberately "literary" ploys of its housekeeper and two mysterious, lurking women.

At a Spanish cloister, a celebrated French general of the Napoleonic Wars recognizes the voice of one of the nuns and recalls how, five years ago, she was the Duchess of Langeais, and he her most persistent suitor.

A view of the religious tensions between Muslims and Buddhist through the portrait of the Buddhist monk Ashin Wirathu, leader of anti-Muslim movement in Myanmar.

This film of interviews with the film director Jacques Rivette was produced in collaboration with Serge Daney, film critic from “Cahiers du cinéma”, then of “Liberation”. In the course of their conversations, the two speakers discuss Rivette’s career, his relationships with the other film makers of the new wave, his use of “mise en scene” and his working with actors.

An intimate portrait of Brigitte Bardot, the great French actress of the 1960s and 1970s who worked with leading directors such as Henri-Georges Clouzot and Jean-Luc Godard. The artist shares her family archives with us.

Nightclub singer La Paloma succumbs to the persistent courting of a chubby, rich admirer and marries him. Before the marriage, she was thought to be dying, but soon she is well. She believes her husband's love has cured her, but her efforts to love him begin to fade as she discovers true love with her husband's old school friend.

Seaside takes place in a small coastal town on the Bay of Somme. The year-round inhabitants find ways to make their lives work; Paul, a lifeguard in the summer, works at the grocery all winter. His mother, Rose (Ogier) likes to play the slots just about anytime; his girlfriend Marie works in the local factory - the town's biggest business - but watching the summertime vacationers each year just makes her increasingly curious about what else might be out there. From these and several other stories, aided by close, revealing observations, we see a community perched between transition and stasis.

Swaying between pleasure and despair, Elric throws himself into his pathological passion for the casino. Meeting Suzie could have saved him, but the young woman also sinks into gambling hell. The couple then start getting involved in the fearsome world of professional cheaters.

Before Le Pont du Nord Rivette films Paris s'en va, a short film of approximately 25 minutes. He works with the same actors and the same technical team on both films. Henry Chapier who produced the short: "At the beginning of the '80s nobody was interested in Rivette's highly imaginative project Le Pont du Nord. Therefore Rivette came up with a kind of 'transposition' of the themes of Le Pont du Nord in the shape of Paris s'en va. Just like a painter in the Renaissance who does a sketch for a future project."

When director Daniel Schmid grew up, his parents ran a hotel in the Alps, and this singular setting was to influence his film. Rather by coincidence, he came to Berlin in the early 1960s and became part of the new German wave. Schmid worked with, among others, Wenders and Fassbinder, for example, as an actor in Wender’s The American Friend. He met Ingrid Caven, who was to play a diva in several of his films. This is a documentation of a part of modern European film history and a good analysis of artistry and how it corresponds to the individual behind the camera. A wealth of archival footage brings us close to many directors and actors in Schmid’s circle. If you’ve never seen a Daniel Schmid film, you are sure to want to after watching this portrait of his life.

A publisher seeks information on a writer who died long ago.

Céline is a free-spirited woman is married to a dull, middle manager Philippe. Her husband's co-worker pegged her as a household ornament because of the union. She befriends a woman who shows her how to juggle the couple's living expenses to get what she wants. As she asserts her independence and gradually frees herself from her husband's claustrophobic world, she turns to painting and writing about the inequity between genders.

As Gentille opens, Fontaine Leglou is walking down a Paris street, and stops to confront a man whom she suspects is following her. She tells him he looks normal, but she's sorry, she doesn't have time to have coffee with him. When he convincingly protests that he was not following her, she apologizes and asks him to have coffee. Fontaine would seem to have a relatively good life. She works as an anesthetist at a fancy mental hospital, and she's got a live-in Nobel Prize-winning arctic scientist boyfriend, Michel, who seems to love her. But there's clearly something nagging at her. She walks around in a perpetually distracted state, and frequently mistakes other peoples' identities and their intentions. When Michel proposes to her, she needs some time to digest it before she responds.

Swiss filmmaker Daniel Schmid died on August 5, 2006, and German filmmaker Werner Schroeter on April 12, 2010. They were close friends, and along with Jean Eustache, Rainer Werner Fassbinder and Philippe Garrel were the most innovative filmmakers of the post-New Wave era.

Werner Schroeter's rhapsody of excess leaps from 1949 Cuba to contemporary France to points in between, while its feverishly shifting visual style evokes and parodies everything from kitschy Mexican telenovelas to silent French art films.

Psychological drama about a young, inexperienced film reviewer who falls for the charms of a well-established female colleague. A challenging look at the essence of film critique as well as an erotic encounter between two unequals.

Benoit has his life all planned out before him. Unfortunately, he had totally forgotten to include his military service. Inevitably called into duty, he tries everything he can to avoid it, eventually launching into a hedonistic lifestyle—out of control with drugs, alcohol, and nightclubs.

The Life of Mirrors is one of the sections of the exhibition Luis Miguel Cintra - Small Theatre of the World. A commission by Serralves Foundation to Regina Guimarães and Saguenail, and constructed after an unpublished interview with Luis Miguel Cintra, this film is the result of a long and painstaking exercise of selecting and editing excerpts from films by Manoel de Oliveira in which Cintra participates as an actor. In this way, The Life of Mirrors is a reflective, retrospective essay film, which opens the Carte Blanche, thus establishing a gateway to Luis Miguel Cintra's cinematographic and cinephile career.

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Le Navire Night is a story of love and desire sustained and nourished through sound waves. The film’s voice-over tells the story of a woman, terminally ill with leukemia, living in isolation at her wealthy father's villa, and a man working night shifts at a telephone company. They have never met in person.

An old lady returns from Africa where she made a fortune to find her son in Paris, whom she has not seen in five years, with the intention of bringing him back with her. But this project fails.

Barely out of the psychiatric hospital where he went to seek care, Gilbert Nodier commits several assaults to have some money.

In the Bellinsky family: there is Solomon the father, 80 years old, brimming with life. He is fighting not to be buried too quickly, between tap dance lessons under the high patronage of Fred Astaire and the search for a companion... The mother, Geneviève, dreams of only one thing: quietly continuing her infantilisation, with her household help, protector and guardian angel, Mr Mootoousamy.

Pierre used to be a top level football player but he quit. Now he is both a prestidigitator and a stool pigeon, benefiting from the protection of the chief inspector. In his dreams he is haunted by the horrors he saw (he took part in ?) during the Algerian War. Pierre lives with Marie, a young singer who performs at the same cabaret as him. Lately Marie has decided to start a career in the showbiz and Pierre is worried. Nothing alarming happens though, until a diabolical inspector, jealous of his superior, decides to manipulate Pierre. He also puts pressure on Poussin, Marie's pianist, and on Joseph, the night club's master of ceremony. What he wants is to compromise his superior and take his place. Will Pierre escape this ruthless trap?

Pierre and Paul, journalist and writer respectively, team up to write a screenplay based on the real story of a young woman accused by her uncle of trying to kill him. They decide to meet her.

Several lives intersect when a middle-aged woman is left by her husband, and she decides to trek him down with the help of her equally troubled sister.

Eugénie Grandval welcomes various film personalities to discuss the work and personality of Bulle Ogier. Enriched by numerous film extracts and interviews drawn from the INA archives, this is an intimate portrait of a major figure in French cinema.

A mediocre musician goes on the road in search of the world's greatest guitar maker.

Pierre is a middle-aged factory worker with plenty of unresolved anger. After his father's death, his mother feels compelled to move in with him. Having just moved there with his beautiful girlfriend, he begins to feel the pressure. When the May Day revolt begins, he goes crazy.

Tired of their stressful parisian lifestyle, Caroline and Bertrand decide to start a new life, running a traditional gîte in deepest Provence. It is not long before they start to question the wisdom of this move – the buldings are in a state of near-dilapidation, their friend and supposed partner Sophie has walked out on them, and they are but a stone’s throw from a far more attarctive holiday home, catering for gay men. Will this change be as good as a rest or the start of a nightmare?

Jean, the lead character in this psychological journey is torn by a search for his lost childhood, the overwhelming need to love a woman of his dreams (someone he has invented), and a struggle with his latent bisexuality. Jean finds some photos inside an automatic photo station that look like his mother who died soon after he was born. He starts to fantasize about the woman, giving her a name and identity and waiting for her to appear. During this time, he meets Carole and has an affair with her, all the while pretending he has this other relationship with the woman in the photo. Significantly, the couple who introduce him to Carole is childless, and they eventually split up - perhaps a comment on the importance of childhood to the adult world. In the end, Carole discovers that Jean's "other woman" has no real existence, causing a crisis that finds a symbolic expression as the last scenes close on the story.

A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagine his death in tableaux with text passages recited by Müller himself. "Cinema watches Death at work." Wilson's actors watch Molière die: their vigil is hard work. Müller's comment: "The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière."

Marie is just out from prison when she runs into Baptiste, a young paranoid needing companionship. In their pursuit of a mysterious briefcase carried by Marie's former lover, they roam the street of Paris, transformed into a giant board game, a maze spotted with mysterious traps, puzzling clues, and chance encounters. Maybe they are bricks in some sinister scheme, maybe they are playing a board game, maybe it's a fairy tale, maybe it's yet something else...

After reading a postcard that her mother let go in the wind, a woman learns that she has a twin.

Out 1: Spectre begins as nothing more than scenes from Parisian life; only as time goes by do we realize that there is a plot—perhaps playful, perhaps sinister—that implicates not just the thirteen characters, but maybe everyone, everywhere. Real life may be nothing but an enormous yarn someone somewhere is spinning...

Marianne, a young cellist discovers that her father had a mistress who is still alive. Her journey to find this mysterious woman takes her to places and people from her childhood that she thought she'd left behind forever.

In June 2015, forty-five years after OUT 1 was made, the filmmakers went to Paris to interview cast and crew members and to revisit some of the film’s most significant locations. THE MYSTERIES OF PARIS features new contributions from actors Bulle Ogier, Michael Lonsdale and Hermine Karagheuz, cinematographer Pierre-William Glenn, assistant director Jean-François Stévenin and producer Stéphane Tchal Gadjieff, but also rare archival interviews with actors Jacques Doniol-Valcroze and Michel Delahaye and, most prominently, illuminating statements by director Jacques Rivette himself from two different archival interviews.

Like every year, five old friends come together in a chalet in the middle of a Canadian snow desert. Henri, his wife Apolline, brother-in-law Maxence, Jean and Paul are waiting for cozy evenings with board games and good food - a typical ski holiday. But on the first day Henri announces that he knows about the affair between Apolline and Jean. An oppressive mood spreads in the secluded hut until the spiral of jealousy and sadism kills one from its midst.

Werner Schroeter directed this dark and surreal tale of a man determined to save a lost lover from a grim fate at the hands of a violent mob. The city of Santa Maria is falling into chaos as an armed military faction is poised to take power in a coup d'etat. Ossorio used to call Santa Maria home, and he has returned in its darkest hour to find the woman he loves, hoping to rescue her from the violence that is lurks around the corner. As Ossorio searches for his love, he meets Victoria in a shabby hotel, who in turn introduces him to her father Barcala, who for the right price is willing to take Ossorio and another passenger away on his boat. While Ossorio is willing to pay Barcala what he wants, can he find the mysterious woman before the ship sets sail?

You're a provincial kid in Paris and suddenly you're the center of attention: Movie stars, famous directors and sexy women are doting on you because they all think you're the son of their long-dead legendary friend. You never knew your dad, but the facts of this famous guy's life suggest that he might have fathered you. Your mom tells you nothing. All the fuss makes you uncomfortable at first but soon you find it's rather fun to be the son of the famous Gascogne. And in the midst of it all you fall in love. It is, after all, springtime in Paris.

A detective captain learns that a mummy in an SS uniform has just been discovered, walled up in an old building undergoing renovation in Colmar...

A woman goes to Cannes and, lost in its chaos and unable to obtain tickets, ends up watching it on television from her hotel room.

Italy, May 1969. A woman, her fiancé and two other revolutionaries are on their way to a demonstration in Rome. The trip is an opportunity for the young woman to look back on herself, her journey and her anxieties.

The quiet agony of a mother whose daughter grows up to pursue her own life is chronicled in this realistically presented French drama. The Circuit Carole of the title refers to a motorbike racetrack. Jeanne and her 20-year old daughter Marie share a small apartment in a working-class Parisian neighborhood; the two live harmoniously, but the daughter is restless and anxious to set out on her own. Marie then takes a job in a northern suburb and their lives are forever changed. The racetrack is near her work; Marie is enthralled by the racers and their fast machines. Along with her new boyfriend, a racer, Marie begins riding herself. She then moves out of her mother's flat, leaving Jeanne bereft of companionship and a purpose in her life. Her silent, deeply internalized grief eventually drives her completely mad.

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After having been rescued from suicide, a young man is the object of a bet by his doctor that the doctor can help him recover his joy in life. Ironically, the doctor's life is not a very happy one either, and his boast has a hollow sound. For one thing, although he seemingly has a "happy divorce," in which he, his ex-wife and her new husband are all great pals, it's not true. He wants his wife back. All sorts of complications arise out of these lies and distortions.

Dorante, an impoverished young man, is taken on as a secretary by Araminte, a rich widow with whom he is secretly in love. The valet Dubois does all he can to get Araminte to fall in love with Dorante. Following his staging of Marivaux’s comedy at the Odéon theater, Luc Bondy turns the whole theater building into a film studio, placing his actors in the foyer, under the stage, in the kitchens, using the most unusual and unexpected spots to invent a new dynamic between theater and film.

Ingmar, a young Swedish architect, is engaged to Monika but, marriage being paradoxically a serious thing in Sweden, he wants to put his future wife to the test. For this purpose, the couple made a trip to France during which Monika saw her former lover, Jean-Pierre, who is now married to Pauline, who assured her husband that, if he cheated on her, he would their marriage is over.

A man and a woman who loved each other find themselves in a cemetery. He is here to attend the funeral of his grandmother, she let herself be lured by this place without really knowing why. The man's parents, who have come to pour out their reproaches, gravitate around the lovers who desire each other and inevitably get closer. But what did they really experience? And do they still have something to live for?

Three women live together in an old rectory on the seashore. Alda lends her body to a string of carnal relationships but never commits her feelings. Olga, the elder sister, has opted for a reclusive life as the soul of the household. Her daughter, Sigga, is a young adolescent. The house harbors a finely balanced marriage between desire and memory—until Olga’s destiny tips the scales.

A man and his sister meet at a seaside village to discuss their relationship.

Mathieu is collected from the hospital by his wife, and dropped of at an apartment. His wife returns home to their son. The next time she sees him, he confesses that he is in love with another woman. This woman, who is identical to his wife, visits him. After making love, she leaves. She then returns. Mathieu shoots her - or does he shoot a mirror?

The story of a dysfunctional family in Northern France. Dad is a mean abusive drunk pharmacist, mom is addicted to pills and has incestuous desire for her son, the son is skipping school to fish and daughter is mentally handicapped.

Rico is a not too successful screen-player. He is also a repressed sex addict. His life changes when he starts to talk to his own penis, which incredibly answers him! All his relationships and views about reality are seriously impacted by his new "friend", his penis! The "two" in fact, often have different opinions, and sometimes the personality of "it" is stronger than its owner.

A missed highway exit leads Darry Marzouki, an unemployed magician, to cross paths with Irène Montier Duval, a wealthy woman carrying a Hermès bag full of cash. Out of love, she acted as an intermediary in an arms deal between a French minister and Korea. When the deal was exposed, the minister tried to pin the blame on her. On the run, she offers to pay Darry to drive her to Geneva in his BMW. The problem? The BMW isn’t his—he impulsively stole it from his hot-tempered brother-in-law, who’s out for blood. Unable to accept Irène’s offer, Darry pretends to be an activist heading to a summit in Locarno. Irène, eager for a change, plays along. They have little in common but spend three unforgettable days together—while being chased by Koreans, French intelligence, a minister, and the furious brother-in-law. In the end, one finds love, the other freedom.

In this thriller, a UNESCO translator stumbles across a group which is hiding and supporting Nazis and facilitating their travel around the world. She had been given an assignment to study the work of a writer who recently had died, and the conspiracy is revealed in materials he left behind. She comes upon a young man who is going through the writer's papers, and she immediately assumes he must be one of the conspirators. However, he soon convinces her of his innocence in that regard, and the two together begin a search for the ringleader.

A documentary about the making of Luis Bunuel's 1972 film.

Essay on the history of Los Angeles

Claire returns to France following the death of her actress friend Agathe. She attends an auction of her friend's possessions, provoking memories of the past.

Pierre, a middle-aged tourist guide, is the victim of a sudden failure : he does not recognize anything about him any longer. He goes back home and in his apartment he finds a mysterious young man who tells him he is here to avenge a young woman who has taken her own life. What share of responsibility does Pierre hold in this situation?

Political rivals try to sabotage a new mayor and her eccentric plans for an underprivileged French municipality.

Manoel de Oliveira plays his film in three stages: the first part - a play, the second can be roughly defined as a silent film (with the behind the scenes read excerpts from Beckett works), but in the end the director brilliantly performs the same material of the avant-garde exercise. Surprisingly, a joke, repeated three times, each time everything sounds fresh and develops into an almost verbatim adaptation of the biblical "Book of Job" - a spectacular point in a parable about how hard to empathize with other people's misery, when you have your own.

Vienna at the turn of the century: The industrialist Friedrich Hofreiter is a vain, self-important man who is used to taking what he wants and who enjoys exercising power. His tender wife Genia increasingly recognizes his deceitfulness. The Russian pianist Alexei Korsakov, a subtle artist, commits suicide because of her. Hofreiter, on the other hand, travels to the Dolomites with his friend and family doctor Dr. Mauer, who is in love with the young Erna. Hofreiter makes her his lover in front of Mauer's eyes. In turn, he provokes Genia's lover into a duel and shoots him. In the end, there is only emptiness. Faithful adaptation of Arthur Schnitzler's stage play.

Joa (Bulle Ogier), an archaeologist from Mexico, comes to Paris in search of her sister Anna (Mireille Perrier), of whom she is suddenly without news. Anna, a theater actress, was in the title role in Sade's "Justine" when she disappeared. The investigation leading Joa to the people who have known her sister, turns into an initiatory quest. Her journey, her stroll through a subterranean marginal Paris, leads also to the emergence of a new woman.

Homemade footage of parties, travel, and everyday life.

Holed up in a small Normandy town, Louise hides from her ghosts as she looks after grumpy old Theo, the retired lighthouse keeper who shares her passion for ornithology. As she wanders the twisted shores, observing birds and people alike, Louise also keeps track of old Florelle, another broken soul who searches the beaches, seemingly waiting for the crashing waves to return something to her. Observing the locals' reactions to Lambert's return, the heir of a family lost at sea, Louise is intrigued by his past but, at the same time, attracted to him. As their relationship deepens, they start to unravel the web of secrets that have haunted the small village for decades. Together, they struggle to uncover the truth that could set them both free.

Nico is an ethereal poet haunting the gaps between scenes of Jean-Pierre Kalfon, Bulle Ogier, Laurent Terzieff, and Garrel’s father, Maurice, discussing the filmmaker’s staple topics: love, psychoanalysis, and the failures of May ’68.

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Emile is a 70-ish former horticulturalist who once raised bonsai trees "because they don't take up too much room." Indeed, his whole existence is safe and uneventful to a fault, somewhat juiced by friendship with raucous fishing companion Edmond. Still, they trade pleasantries rather than confidences -- so Emile is shocked when it turns out his elderly pal watches porn, paints nudes and shags women who are his contemporaries that he meets online.