Tag Archives: France

Nolff, a tough Breton fisherman is happy: his wife has just given birth to a son, Michel. His only wish is to make him a fisherman like him. But when he becomes a man, Michel becomes a good-for-nothing who spends his time in taverns with his evil genius friend Gwenn la Taupe. The sea will be his judge.
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A Man Escaped opens with the indelible image of a pair of restless hands belonging to a French resistance officer named Lieutenant Fontaine (Francois Leterrier). His face is inscrutable and impassive, concealing his calculated attempt to flee from the escorted prison transport vehicle. He reaches for the door handle, retreats, then reaches again. At a momentary distraction of a crossing railcar, he seizes the opportunity, but is immediately recaptured, and is severely beaten by the German guards for the attempt. Imprisoned and condemned to die, Fontaine finds the courage and determination to escape his certain fate.
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This unusual Iranian documentary/drama is based on the true story of a poor and religious 65-year-old father who kept his two 12-year-old daughters locked in their small house from the day that they were born. Their blind mother agreed with the arrangement since she was unable to supervise them in any other way. Thanks to the concern of neighbors over the plight of Massoumeh and Zahra, a social worker looked into the matter and found the girls unable to talk or walk properly. They were given the first baths in their lives and then returned to their home. The father, believing that he has been publicly shamed by his neighbors, promises not to keep them imprisoned anymore.
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Pierre Ruffin (Gabin), directeur d’une bibliothèque publique à Paris, une journée de l’homme estimée, la nuit devient le chef d’une bande de criminels. Cependant, pour Madeleine Marsan (Robinson), Pierre est l’homme qui l’a aidée quand elle était en difficulté, l’homme qui a découvert le véritable amour dans le milieu de l’adversité et de la tragédie …
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This Spanish/French film presents a loving ode to a woman’s breasts and the three men who love them. The fairy tale is told from the viewpoint of 9-year old Tete, who jealous of his new brother’s access to his mother’s breasts, implores the moon to give him a nurturing breast of his own. French cabaret performers Estrellita, the Queen of Stuttgart, and her jealous husband Maurice, come to town with their surprisingly vulgar act. When Tete sees Estrellita, he knows his wish has been granted. Trailer-park electrician Miquel is also very attracted to Estrellita’s charming chest and begins serenade her. Tete gets to sample her charms after he brings her a frog.
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Determined to no longer work for anyone else, Jérôme tries to set up his own company, no matter the cost and despite his wife’s reluctance. Ugo, their 11-year-old son, plays tennis and wants to become a champion. To do so, he must get into the French national tennis training school at Roland Garros.
Like his father, Ugo is ready to do anything to achieve his aims. Together, Ugo and Jérôme come to learn that you can’t bend the rules in order to succeed.
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A story about an unorthodox relationship The Story of O is still a controversial film many have found to be scandalous, unbearably graphic. Its explicit narrative, as well as unconventional depiction of human desire, is certainly amongst the boldest in mainstream cinema. Not surprisingly, moralistic watchdogs have dismissed it time and time again as pornography.
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Dans sa caravane perchée dans les arbres, Tarzoon (Shame) coule des jours heureux en compagnie de June sa femme, et Flicka, son singe. Un brave garçon dont il n’y a rien à dire. Mais, non loin de là, vit la reine Bazonga, protégée dans son royaume souterrain par une armée de créatures phalliques, les Zombits. Prête à conquérir le monde, elle n’a qu’un souci : sa calvitie. Seule une greffe pourrait la sauver et, justement June a les cheveux qu’il lui faudrait…
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Julien and Marguerite de Ravalet, son and daughter of the Lord of Tourlaville, have loved each other since childhood. But as they grow up, their affection veers toward voracious passion. Scandalized by their affair, society hounds them until, unable to resist their feelings, they flee. A contemporary fairytale about desire, passion, hope, love and death.
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In a sense, Carlos Saura’s first foray into filming classical dance, Blood Wedding, may be seen, not as a stark departure from the immediacy of his narrative films, but rather, as an oblique return to form towards the social interrogations implicit in his earlier work on the fundamental question of Spanish identity – a particularly timely and relevant re-assessment in the aftermath of a contemporary history marked by institutional repression, creative censorship, and historical revisionism. It is within this framework that the selected adaptation of the seminal “rural trilogy” play by Spanish playwright, Federico García Lorca – a writer who was executed by Falangists in the early days of the Civil War and whose work was generally banned throughout Franco’s regime – seems particularly suited to this post Franco-era cultural introspection in its dark and tragic tale of passion, betrayal, and revenge.
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