Delphine's travelling companion cancels two weeks before her holiday, so Delphine (Marie Rivière), a Parisian secretary, is at a loose end. She doesn't want to travel by herself, but has no means boyfriend and seems unable to meet new people. A friend takes her to Cerbourg; after a few days there, the weepy and self pitying Delphine goes back to Paris. She tries the Alps, but returns the same day. Next, it's the beach; once there, she chats with an outgoing Swede, a party girl, and a friendship seems to bud; then suddenly, Delphine bolts, heading back to Paris. On her way, a young man catches her eye; perhaps a sunset and the sun's green ray await.
The last of Rohmer's Six Moral Tales. Frederic (Bernard Verley) leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene (Françoise Verley), a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe (Zouzou), who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma.
Fresh from an unceremonious dumping by her boyfriend of 10 years, Paula (Laetitia Dosch) finds herself wandering the streets of Paris - jobless, homeless, and single - who no idea of what life holds for her next. At 31 years old, with little to show for it but a kidnapped cat and a sense of adventure, she sets out to reinvent herself - new job, new friends, new life - and finds that these things never do come easily.
Paris, winter 1885. At the Salpetriere Hospital, Professor Jean-Marin Charcot, studies a mysterious disease which he calls 'Hysteria'. Home to thousands of seemingly catatonic women and run by only a handful of doctors, the isolated corridors of the hospital perfectly shadow the Professor's hypnotic tests on his patients. Augustine, a 19 year old girl, is admitted to the hospital and soon becomes the Professor's favourite subject; the star of his demonstrations of hypnosis. But from guinea pig, she soon evolves into something much more...
From Leonor Serraille, the director of Jeune Femme, "Mother and Son" is a vibrant portrait of a family told from multiple perspectives. After moving to France from the Ivory Coast in the 1980s, young mother Rose (Annabelle Lengronne) must work low-paying jobs to raise Jean and Ernest. Yet Rose seems an indomitable force of nature; her enthusiasm for life in her new country apparently inextinguishable, her trust that she will land on her feet and find love unshakable. Spanning 20 years and structured in chapters, "Mother and Son" is an impassioned and emotionally rich chronicle of a constantly evolving family.
Isabelle Adjani plays Elle, a provocative 19-year-old whose move, with her mother and sick father, to a sleepy Provence village sets the locals afire with lust and gossip. She soon finds a suitor in gentle Pin-Pon (Alain Souchon), the local mechanic, and they marry shortly after. Then the tone shifts, when a dark secret emerges from her past, the film becomes more complex and Adjani's character reveals a disturbing side as she manipulates events and men in order to seek revenge for an outrage inflicted in her childhood...
From acclaimed French filmmaker Alice Winocour comes an exceptional new drama."Paris Memories" follows Mia (Virginie Efira) as she struggles to make sense of her experience in the aftermath of a violent attack. Her isolation and confusion leads her to meet with others who were there, including Thomas (Benoit Magimel) who she forges a close relationship with. As Mia works through her fractured memories, she starts to rebuild her life and reconnect with the city she loves. Featuring outstanding performances, Winocour's new film is a powerful story of hope, humanity and compassion.
An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, this gorgeous period reverie by Hou Hsiao-hsien traces the romantic intrigue, jealousies, and tensions swirling around four late-nineteenth-century Shanghai "flower houses", where courtesans live confined to a gilded cage, ensconced in opulent splendor but forced to work to buy back their freedom. Among the regular clients is the taciturn Master Wang (Tony Leung Chiu-wai), whose relationship with his longtime mistress (Michiko Hada) is roiled by a perceived act of betrayal. Composed in a languorous procession of entrancing long takes, Flowers of Shanghai evokes a vanished world of decadence and cruelty, an insular universe where much of the dramatic action remains tantalizingly offscreen - even as its emotional fallout registers with quiet devastation.
When her best friend Elizabeth (Maggie Steed) goes missing, Maud (Glenda Jackson) is convinced something terrible has happened. But her search to find Elizabeth unearths an altogether darker unsolved mystery: her sister's disappearance, long buried in the recesses of her memory. Can Maud discover the fate of both missing women before her dementia erases the clues and the answers are lost to her forever?
Steve Thompson (Burt Lancaster) is a hardworking armoured car driver with a fatal attraction to his ex-wife Anna (Yvonne DeCarlo), who's now married to notorious hoodlum Slim Dundee (Dan Duryea). Unable to stay away from her, Steve has a secret tryst with Anna...only to be discovered by Dundee. To cover up their affair, Steve convinces Dundee that he only met with Anna to get Dundee's help in robbing an upcoming payroll shipment he will be driving. The hood falls for the ruse, which triggers a series of harrowing events that ultimately lead to violence and death.
An artist and ceramist in Portland, Oregon is on the verge of an important show, but she's plagued with personal problems. Her neighbour-slash-landlady (a fellow or rival artist, as it happens) is failing to fix the hot water in her apartment. Her cat has almost killed a pigeon in their street and she feels obligated to look after the poor injured thing in a cardboard box, instead of working. Her mother (an administrator in the community arts centre where the artist works) is querulously estranged from her dad, who appears to have free loading house guests from Canada. And her bipolar brother, who also has artistic leanings is digging a huge hole in his back garden...
Single mother Collette McVeigh is a Republican living in Belfast with her mother and hardliner IRA brothers. When she is arrested for her part in an aborted IRA bomb plot in London, an MI5 officer (Mac) offers her a choice: lose everything and go to prison for 25 years or return to Belfast to spy on her own family. With her son's life in her hands, Collette chooses to place her trust in Mac and return home, but when her brothers' secret operation is ambushed, suspicions of an informant are raised and Collette finds both herself and her family in grave danger.
Industrialist Pierre Verdier (Jacques Berthier) kills his mistress Jeanne Ancelin (Françoise Brion) by throwing her off a train. Her husband, Ancelin, decides to take revenge on his wife's murderer, who has been acquitted by justice. He waits for him in his house and hangs him. He leaves the place unseen, at least this is what he thinks. But unfortunately for him, Lambert (Franco Fabrizi), a taxi driver has witnessed him. Ancelin has no option but to get rid of him...
Beautiful, troubled Dominique Marceau (Brigitte Bardot) came to bohemian Paris to escape the suffocation of provincial life, only to wind up in a courtroom, accused of a terrible crime: the murder of her lover (Sami Frey). As the trial commences and the lawyers begin tangling over Dominique's fate, the Oscar-nominated 'La Vérité', directed by Henri-Georges Clouzot (Diabolique), delves into her past, reconstructing her struggle to find a foothold in the city. What emerges is a nuanced portrait of an impulsive young woman misunderstood and mistreated by those around her, and of her ultimately tragic affair with an up-and-coming conductor. With an astonishing performance by Bardot, Clouzot's affecting and intricately constructed film - a huge late-career success for the French master - renders a harsh verdict against a hypocritical and moralistic society.
Aravindan's The Circus Tent poetically explores the ripples created by the arrival of a travelling circus in a remote Indian village. From their processional entrance through spellbinding performances to their final pack-down, circus life is captured in striking imagery. Cutting between skilled performers and wide-eyed spectators, the film encapsulates the sheer magic of ar encountered for the first time. Aravindan's lyrical masterpiece links the transience of the travelling troupe with the inevitable mortality of life. Once thought lost, now fully restored, the film will enrapture audiences anew.
We use cookies to help you navigate our website and to keep track of our promotional efforts. Some cookies are necessary for the site to operate normally while others are optional. To find out what cookies we are using please visit Cookies Policy.