Hélène Surgère

Mutlak güç, mutlak yozlaşmayı getirir. Topluma önderlik eden dört insan, özel olarak seçilen genç kız ve oğlanları sistematik bir biçimde aşağılayarak onlardan yararlanır ve işkence eder... Bir dizi müstehcen öyküyle başlayan bu sefahat dolu işkence, dinsel bir tören havasının ardına gizlenmiştir. Filmin gelişimi cinsel sapıklıktan sadizme, işkenceden ölüme kadar amansızca uzanır. İşkencelerin alacağı bir zevk yoktur, acımaları da... Pasolini'nin son filminde bir ölüm kokusu, çöküş ve umutsuzluk sancıları içinde kıvranan insanlığa soyutlanmış son bir ağıt yatar. Faşizme karşı zehir zemberek bu film, kasvetli bir tür vasiyettir sanki...

İki Amerikalı kız kardeşin Paris'in duyarlı ve çekici atmosferinde kendilerini kaybetmeleriyle, kültürler ve tutkuların birbirine karıştığı bir ahlak ve görgü kuralları komedisi ortaya çıkar. Isabel (Kate Hudson) hamile üvey kız kardeşine (Naomi Watts) yardımcı olmak için Paris'e doğru yola çıkar, şehre vardığında ise kocasının (Poupaud) onu terk ettiğini öğrenir. Kendilerini melankoliye terk etmemeye karar veren kız kardeşler, Paris sosyal hayatına hızlı bir giriş yaparlar, böylece kültürler arası tatlı romantizm ve pembe renkli ilişkiler başlar. Le Divorce, iki kültür arasında ahlak, seks, yemek, moda ve hayatın kendisi üzerine olan farklılıkların zengin karmaşıklığını gözler önüne seren güzel kahramanlar Isabel ve Roseanne' in zevkli hikayesi.

Genç bir kadın olan Camille, Philibert ve Franck adlı iki komşusuyla dost olur; rahat ve huzur bulmak için onların evine yerleşir. Ailevi geçmişleri ve kişilikleri bakımından birbirlerine zıt bu üç karakter, uyum içinde hayatın tadını yakalarlar. Tartışmaların, kavgaların, barışmaların, suç ortaklıklarının ötesinde, “bir arada” olmanın keyfi onları daha güçlü kılar. Derken, inatçı olduğu kadar dünyalar tatlısı olan Franck’ın anneannesini de aralarına almaya karar verirler. Hikâyenin kahramanları feleğin çemberinden geçmiş, biraz yabani ve yalnız karakterlerdir; fakat gönül zenginliğine ve duyguların gücüne inanırlar. Peki, “Bir aradayız, hepsi bu” diyerek kendilerini keşfetmeleri, kendilerini gerçekleştirmeleri mümkün olabilir mi? Masala yakın durmakla birlikte, film burada gündelik hayatın tarafını tutuyor. Her şey toz pembe değil ve kendileri için inşa ettikleri bu fanusta dram eksik olmuyor. Hayatın sert darbelerinden, kenara çekilme riskini de göze almadan, nasıl kaçmalı?

In early 1920s France, an author, lying on his deathbed, looks at various photographs and is flooded with memories of the people and events that have shaped his life.

Ondokuzuncu yüzyıl İngilteresi’nde, Yorkshire’de küçük bir papaz evinde çok katı bir Anglikan papazı olan babaları ve halalarının gözetimi altında yaşayan Charlotte, Emily ve Anne Brontë kız kardeşler, hem bu kadar sıkı denetime hem de kadınların toplumda geri planda olmasının verdiği yetersizliğe rağmen ayrı ayrı ilk eserlerini yazarlar ve çabucak birer edebi sansasyon haline gelirler.

Because she picked the wrong door, Anna ends up confessing her marriage problems to a financial adviser named William Faber. Touched by her distress, somewhat excited as well, Faber does not have the courage to tell her that he is not a psychiatrist. From appointment to appointment, a strange ritual is created between them. William is moved and fascinated to hear the secrets no man ever heard.

Yves Montand, playing himself, returns to his hometown of Marseilles to appear in an autobiographical musical. Once there, he searches for the barmaid he once loved and also encounters young hopeful Marion, giving her the chance of a lifetime.

Two rival "brothers-in-law" make a bet that they can stop smoking for 2 weeks. But, it's just not that easy...

This comedy brings Pierre Richard and Michel Piccoli together onscreen once again. In the story, former professor Henri Toussaint Piccoli has been locked away in a psychiatric ward for some years for trying to strangle his wife when he found her in bed with another man. Now she has a terminal illness, and wants some sort of reconciliation with him. His therapist (Richard) decides to permit him to visit with her, provided he comes along. Except for his wide mood swings and occasional outbursts of lewd muttering, the professor "passes" for sane fairly easily. Not so the psychotic (Dominique Pinon) who stows away in the psychiatrist's car, who constantly calls attention to the other two.

Pierre Cohen, a sophisticated Parisian psychologist, goes to his brother's farm in order to protect it from very hostile local landowners.

Ginette Chaluzac, who has left Central France for Paris, now works as a seamstress in a modest workshop in the Marais district. Her life is quiet and uneventful until the day when, to her surprise, she receives a letter containing a hundred-franc banknote. The sender, who remains anonymous, renews his gift day after day and Ginette grows accustomed to the situation. Her material situation improves but after a while she starts asking herself questions about the one who sends her the money and his/her intentions. Till obsession. To make it clear in her mind she eventually decides to investigate...

A woman falls in love with the man who killed her former boyfriend.

An American passing through France is hosted one stormy night by a couple who soon use his services shamelessly. A very curious way for the young foreigner to find his roots.

Etienne is crazy about ice skating and videoing his daily life with a digital camera. He records his mother, friends, and geography teacher. Initially his intention is to setup a date between his mother and his teacher, however, he starts to realize that he is infatuated with the teacher himself.

A thirty-three-minute documentary featuring interviews with director Pier Paolo Pasolini, actor-filmmaker Jean-Claude Biette, and Pasolini friend Ninetto Davoli.

From the director of Marius et Jeannette, this story of two working-class families is a fable with an optimist streak. A young black man, Francois, is wrongly accused of rape by a racist policeman. The story is told in voiceover by his childhood friend, neighbor, and the mother of his future child, Clementine, who is white. The city is Marseilles as in the previous film, symbolic with its churches, prisons and ruins. Except in this film, director Robert Guediguian also ventures outside, taking the story to Sarajevo; two different cities, one devastated by war, the other by a bad economy and unemployment. A la Place du coeur won a Special Jury Prize at the 1998 San Sebastian Film Festival and was also shown at the 1998 Toronto Film Festival and the 1998 Montreal Film Festival.

A father is scheming to have his slightly mental daughter from an earlier marriage killed by allowing a murderous psychopath to be released from the asylum and led to his house. However, the psychopath and the daughter fall for each other.

Is Nosfer Arbi a vampire? Or is he just a very emaciated, very strange and possibly quite lonely young man from an Arabic country with an obsession with death? On the other hand, why is the previously cheery Parisian teenager Nathalie Belfond throwing fits and speaking in Arabic? Her strange behavior began with the appearance of a caped and cadaverous man outside her window. Mr. & Mrs. Belfond have their hands full trying to sort this mess out, in this extremely unusual and award-winning comedy which puts a new wrinkle on the vampire mythos.

In the 1930s, we follow the story of the laundress Berthe who marries the eldest son of a bourgeois family.

Camille, a young, provincial, proletarian man works for Hélène Courtray, who is still beautiful and seductive. She's a sophisticated, cultivated and well-to-do woman who has engaged him to care for her reclusive son who has spent the past few years voluntarily locked up in his room. An encounter between two persons and two worlds where the relationship of the young man to this closed, strange and unknown universe rapidly turns tragedy.

Jeanne is a woman who is driven by her very active conscience. She attempts to assuage her idealistic bent by trying out life as a nun, but this doesn't work out. After she leaves the convent, she takes a job at a factory, where the callousness of management spurs her to become a labor activist. Her efforts are marked by great persistence and fervor, but she lacks any kind of diplomacy or persuasiveness, and as the years progress, she manages to alienate everyone in her life. By the end of the film, there is only one way that she can see to resolve the horrible situation she finds herself in.

The pragmatic, reserved and refined Maigret investigates murders in his singular unhurried manner and inevitably discovers the truth.

Who is Patient Number 4, and what does he have to do with the Van Oranje-Nassau's, the Dutch royal family?