Yann Dedet

A committed filmmaker struggles to complete his latest project while coping with a myriad of crises, personal and professional, among the cast and crew.

In this whimsical fable, Resnais deftly interweaves three story lines: the creation of an early-20th-century utopia; romantic high jinks at a school conference; and a fantasy sparked by F/X pioneer Georges Méliès.

Set against the backdrop of an increasingly violent strike, a worker falls in love with the middle-class daughter of his landlady.

After he's implicated in several murders, a real estate agent goes on the lam while his intrepid secretary does some private investigating of her own to locate the killer.

Mona is the girlfriend of Pierre, who is a member of a rather pathetic rock band in France. Their hero is the singer "Johnny Valentine " who, seeing that Mona is being neglected, decides to make her his own.

Satan tempts Father Dossignan, who is trying to save the soul of a young girl who killed one of her lovers.

Mangin, a police inspector in Paris, leans hard on informants to get evidence on three Tunisian brothers who traffic in drugs. He arrests one, Simon, and his girl-friend Noria. Simon's brothers go to their lawyer. He springs Noria, who promptly steals 2 million francs that belong to the Tunisians. They suspect her of the theft; her life as well as the lawyer's is in danger. Meanwhile, Noria is playing with both the lawyer and Mangin's affections. Mangin is mercurial anyway: intimidating and bloodying suspects, falling for a police commission trainee before flipping for Noria, wearing his emotions on his sleeve. Can he save the lawyer and Noria, and can he convince her to love?

In French Algeria, after WWII, three daughters of wealthy settlers begin their adult lives. Zon marries an often absent sailor. Malene's husband, Gildas, refuses to work in the farm, so she has to take care of everything. Gritte, the youngest, does not want to marry and is a nurse for the natives. We will follow their three different destinies.

Paula Barretto (Juliet Berto) is caught in the underworld because her father was involved in the drug business, her brother is in the real estate scam, and her lover is an armed thief. Although she tries to get out of her corrupt and dangerous environment, it is not an easy task when even the police officers cannot be trusted, and the underworld has informants everywhere.

The making of Pialat's masterpiece.

May 68. While, outside, people are demonstrating, a man is finishing the editing of Baisers volés.

In a deliberately erratic and disjointed fashion, this film follows the adventures of Bernard (Jean-Pierre Leaud). A young man from the provinces, he makes his pilgrimage to Paris and seeks adventure while living on a barge.

Two quarreling lovers from opposite sides of the economic scale take central stage in this drama about Veronique and Adrien. Veronique is wealthy and from the provinces, Adrien is impoverished and his ancestors come from Brittany. In spite of their different backgrounds, the two fall in love, marry, and eventually have a baby girl. At just about that time, Veronique decides to go back to school, and Adrien becomes both mother and father to their baby. Unable to cope with Veronique's new-found intellectual friends and different lifestyle, Adrien clashes with her, and their arguments lead to a separation for awhile. The two then get back together again, but not for long. It is on a return trip from visiting his mother in Brittany that Adrien's life undergoes a dramatic change, and his story takes an equally unexpected turn.

Two brothers set fire to a barn while drunk, inadvertently causing the death of a sleeping wanderer. One of them takes all the blame for the incident and spends ten years in prison.

It is with Yann Dedet, the great French film editor known for his work with Truffaut and Pialat that the Belgian Joachim Lafosse has chosen to edit his fifth film, L’Économie du couple (After Love), the chronicle of a divorce and its emotional and economic repercussions on the couple and their children. The film shows that the interaction, sometimes fluid and sometimes tense, between two collaborators depends on an “economy of the couple”, whose intimacy is bared to the outside world when the critical step of a first screening for the producers arrives.

Brian and Nourredine are two lousy young offenders. Their flights have a motive: a film brought back from San Francisco where the father of Brian, singer of rock of the sixties, today in prison, made a tour.

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