Tag Archives: french

‘Three hundred men’ is one long night at Saint Jean de Dieu, in Marseille. The center welcomes and confines three hundred homeless men every night over the winter. This documentary is neither the description nor the chronicle of the life of a shelter. It portrays humanity reduced to its essence, when only remain speech, humor, anger or madness to affirm that one still exists.’
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Hello, my name is Anna and I am nine years old. I wish you had known me before – I mean before my aunt Marga and my cousin Pilar came to my parents’house -, I was such a happy little girl. Before their coming life was a bed of roses. Of course my little brother could be a pain in the neck – little brothers always are, aren’t they? – but there was that wonderful big house, there was my Cuban-born nanny who cooked so well, there was the bath before dinner, not to mention this wonderful catechism class at the catholic school. But they did come, those Spanish intruders. And now never heard before names like “Franco”, “Allende”, “Women’s Lib”, “abortion”, the lot, have got into my life. Daddy and Mummy have suddenly become “communists”, although this a term that Bon Papa and Bonne Maman (my grandparents from Bordeaux, in fact) just hate. Because of the intruders not only did we move to a tiny apartment but the place is invaded day and night by “barbudos” (bearded men). No more bath before …
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My films are like that: in a room, but looking out onto an open sky. I can’t really say it except to repeat that Bresson note, ‘that without a thing changing, everything is different.’ The film exists. The fiction is set up, and we believe in it. The justness of the agreement leads us to believe it, because everything plays equally at being a sign.
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The story of the Swiss soldier, Henri Dunant (Jean-Louis Barrault), who was responsible for the founding of the Red Cross, and who was offered the first Nobel Peace Prize.
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“Pleasure (and its little inconveniences)” In Europe today, as chance, deceits and desires run their course, the army conscript meets the nurse, the nurse gets back together with the comedian, the comedian meets the married woman, the married woman gets back together with the VIP, the VIP meets the mad dog, the mad dog gets back together with his old friend Loulou and Loulou, naturally, meets Jack the Ripper…
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If These Walls Could Talk is a 1996 Golden Globe and Emmy Award-nominated made for television movie, broadcast on HBO. It follows the plights of three different women and their experiences with abortion. Each of the three stories takes place in the same house in three different years: 1952, 1974, and 1996. All three segments were co-written by Nancy Savoca. Savoca directed the first and second segment while Cher directed the third. The womens’ experiences in each vignette are designed to demonstrate the popular views of society on the issue in each of the given decades. The film became a surprise success, and was HBO’s highest rated movie ever.
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This three-part drama, produced for HBO, examines the changing tides of the lives of lesbians in America, both politically and personally, as we eavesdrop on three stories taking place in the same house over a span of five decades…
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In the late 1800’s, Franz Ferdinand, heir to the Austro-Hungarian empire, falls for Sophie Chotek, a Czech countess. He’s already a problem to the Crown because of his political ideas; this love affair with someone not of royal blood breeches protocol. The Crown allows the union only after the couple agrees to a morganatic marriage. The emperor further neutralizes Franz by making him inspector general of the army, sending him afield for months at a time. In June of 1914, fearing for his safety, Sophie seeks permission to accompany Franz to Sarajevo; protocol dictates that no army troops attend Franz while she is present. An assassin strikes. Their deaths spark World War I.
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In 1938, in Gibraltar to infiltrate terrorists who sabotage the boats with troups which should sail to Palestine, a British officer poses as a traitor… The pulpy Mercedes (Viviane Romance), a dancer in a seedy cabaret of Tangier “who draws men like light attracts butterflies…” is spying on behalf of the mysterious Marson interpreted masterfully by Erich Von Stroheim.
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On the northern side of the Mexico–United States border, Sergei “Polack” Kowalski, a well-groomed, greedy mercenary, attends a circus performance where he recognizes the show’s lead rodeo clown as Paco Roman. During the performance, Kowalski reminisces on how he and Paco fought together as revolutionaries against the Mexican Government…
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