Delphine Seyrig

Xu Re Huar

Jacinta

Amadeus Flössner

A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess.

Joan of Arc of Mongolia

Joan of Arc of Mongolia (1989)

Veruschka von Lehndorff

Don Grant

Roderick Castillo

Our organization will create a human being whom we can shape and manipulate according to our needs. Dorian Gray: young, rich and handsome. We will make him, seduce him and break him.

Dorian Gray in the Mirror of the Yellow Press

Dorian Gray in the Mirror of the Yellow Press (1984)

Éric Caravaca

Oscar Lesage

Zita Hanrot

Annie becomes pregnant. Since she doesn't want to keep the child, she meets a movement that performs illegal abortions in the eyes of the world. But, in the seventies, Annie will encounter allies and opponents along the way.

Angry Annie

Angry Annie (2022)

Marie Pillet

Olivier Achard

Charlotte Léo

Three young women at a hair salon all like the son of the clothing store proprietors across the mall. Although Robby is selfish and shallow, he's appealing to Lili, the salon's manager, who's trendy and also the salon-owner's moll; to Mado, who's innocent and sweet; and to Pascale, who's intelligent but passive and downcast. Robby's dad tells him to grow up and see beyond the mercurial Lili, so he proposes suddenly to Mado. She's delighted, but the day before the wedding, Lili returns to give Robby another look. In the background, a Yank who was a soldier in France in World War II returns to Paris and tries to recapture the love of his wartime sweetheart, Robby's mom.—

Golden Eighties

Golden Eighties (1986)

Gérard Depardieu

François Périer

Claude Aufaure

Vera Baxter (played by Claudine Gabay) is a married woman with children who "lies a lot" (as she says several times); to herself as much as to others. We learn that Vera follows around her husband Jean in what initially seems to be an odd but functional relationship, where he travels to a new town, rents a place and has affairs with young women. Vera always rents a place nearby, keeping the kids and having momentary affairs herself once in a blue moon, out of loneliness. Vera just had an affair with Michael Cayre (Gerard Depardieu), who has followed her to the new flat she's considering renting because he's fallen in love with her, but Vera isn't responding to his calls. We learn the inklings of all this at a bar where a Cayre, a lady bystander (only named L'inconnue; The Unknown) and Monique (one of Jean Baxter's lovers) are talking.
Monique arrives at the villa and has a casual but intense chat with Vera. They speak of themselves and their relationships with Jean. It's revealed that Monique has been sent there by Jean (who unknown to Monique, is busy entertaining a different young lady) to tell Vera that he's supposedly going on vacation to Spain with Monique, and not take Vera this time. Vera informs Monique this isn't the first time she's heard such a promise, and Monique leaves. Vera phones her husband Jean (played in voice only by François Périer), and the conversation turns to her suggesting divorce, which Jean seems distressed by but unable to address in any practical way.
L'inconnue (Delphine Seyrig) arrives at the villa and overhears the majority of the conversation before Vera hangs up. At first the woman says she's been sent by Cayre to bring Vera back to the bar, but things really open up when she points out that Vera can tell her anything, as they don't know one another and any secrets will be kept. Vera once again launches into a story of half-truths, which the visitor easily sees through. By pointedly questioning Vera, and information L'inconnue learned from her chat with Cayre at the bar earlier, the woman helps Vera see that Jean is a contemptible cad who's been using his wife to keep his failing building business ventures afloat. In fact, Jean owed a gambling debt to Cayre, and offered a night with his wife as payment. It's soon implied that all Vera's affairs have been as controlled by her husband as every other aspect of her life. Vera asks to be left alone but L'inconnue says she heard Vera admit to considering suicide during the phone conversation, and so won't leave. Vera gazes longingly at the views of the sea outside the villa and uncovers the visitor's lie that Cayre is still at the bar waiting for her return; when he's actually left from the shame of the arrangement that made them met in the first place. Then she asks why the woman is doing this. The visitor says that when she first heard the name 'Vera Baxter', she felt she wanted to be the woman that name belonged to. Though Cayre is gone, Vera now knows that another kind of love exists in the world, and a kindness that even the visitor seems capable of. They walk through the villa and with truth alive and lies put to bed, Vera decides to leave and find out what the outside world will be like beyond the protective but corrupting influence of her husband.

Baxter, Vera Baxter

Baxter, Vera Baxter (1977)

Michael Lonsdale

Jean-Pierre Léaud

Albert Simono

The third in a series of films (following The 400 Blows and the short Antoine and Collette) featuring writer-directed François Truffaut's alter-ego, Antoine Doinel (Leaud), the story resumes with Antoine being discharged from military service. His sweetheart Christine's father lands Antoine a job as a security guard, which he promptly loses. Stumbling into a position assisting a private detective, Antoine falls for his employers' seductive wife, Fabienne, and finds that he must choose between the older woman and Christine.

Stolen Kisses

Stolen Kisses (1968)

Alexandra Stewart

Jacques Perrin

Ursula Kubler

Chick fell in love with Alise because of a shared passion for writer Jean-Sol Partre who gradually devoured their relationship. Soon after, Colin, the main character, also falls in love with a young girl, Chloe, but after their marriage she soon suffers from a strange illness: a water lily grows in her lungs.—mhvt

L'écume des jours

L'écume des jours (1968)

Jean-Baptiste Thiérrée

Martine Vatel

Catherine de Seynes

In the seacoast town of Boulogne, Hélène sells antique furniture, living with her step-son, Bernard, who's back from military duty in Algiers. An old lover of Hélène's comes to visit - Alphonse - with his niece Françoise; he too is back from Algiers, where he ran a café. Bernard speaks of his fiancée, Muriel, whom Hélène has not met. The narrative, like memory and intention, is jumpy, the past obscured by guilt, misperceptions, and missed possibilities. Appearances deceive, things change. As Hélène and Alphonse try to sort out a renewal, everyone seems off-kilter just enough to hint that all cannot end well. Can anyone know another?—

Muriel

Muriel (1963)

Catherine Deneuve

Micheline Presle

The education of a princess wrapped in a love story. A king and queen live happily until her sudden death. The king decides to marry his lovely daughter. She's willing, but the Lily Fairy serves as a social conscience, intent on thwarting incest. She instructs the princess to request a series of dresses impossible to make; however, the king's tailor succeeds. So the fairy plots the princess's escape, wearing the skin of the king's prize donkey. She's spirited away to be a scullery maid dressed in the noisome skin. A wandering prince sees her in the woods and is smitten. Can love find its course, and does the princess learn a lesson of life's hardships?—

Donkey Skin

Donkey Skin (1970)

Chantal Akerman

Henri Storck

Jacques Doniol-Valcroze

Jeanne Dielman, a lonely young widow, lives with her son Sylvain following an immutable order: while the boy is in school, she cares for their apartment, does chores, and receives clients in the afternoon.—Volker Boehm

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)

Luis Buñuel

Michel Piccoli

Daniel Pilon

Two vagabonds Jean (Laurent Terzieff) and Pierre (Paul Frankeur) are hitching a ride from Paris to Spain as a pilgrimage to Santiago de Compostels to pray over the remains of Saint James. As the two travel by whatever methods they can get and depending on the locals for food, they seem to shift their existence in time, flashing back to biblical times, medieval times, and renaissance times to scenes confronting and examining theological texts and arguments surrounding heresy. Along the way Jean and Pierre meet up with Jesus (Bernard Verley) showing off his abilities, and the Marquis de Sade (Michel Piccoli) begins a new relationship with a young girl in chains, and also Satan (Pierre Clementi) who appears during a car crash to establish some interesting points about religion. In the end our two beggars realize some interesting new ideas about the world they inhabit.

The Milky Way

The Milky Way (1969)

John Karlen

Paul Esser

Danielle Ouimet

A chic, good-looking and suitably 70's couple arrive at an extravagant and deserted seaside hotel after eloping. Stefan is wealthy and happily English, with a hidden streak of sadism, while Valarie is intelligent but of inferior (Swedish) blood. To keep her with him at the eerie hotel he lies consistantly about his relationship with his mother and his plans to tell her of their marriage. Meanwhile he has mysterious phone conversations with an older, dominant and pampered sissy. Two fresh guests arrive; the Hungarian countess, Elizabeth Bathory and her voluptuous protege, Ilona. Virgin corpses begin showing up about the city drained of their blood. A wary detective lurks around the hotel taunting his only suspect, the Countess.—kwedgwood@hotmail.com

Daughters of Darkness

Daughters of Darkness (1971)

Eva Ebner

Dan van Husen

Eddie Constantine

In the form of a "small theater of the world", a history of the world from its beginnings to our day, including the errors, the incompetence, the thirst for power, the fear, the madness, the cruelty and the commonplace, in a story of five episodes.—Ulf Kjell Gür

Freak Orlando

Freak Orlando (1981)

Barry Farrell

Andrew Meyer

Chris Leplus

A young French woman, separated from her lover, tries to find a lodging in L.A. for herself and her son.

Documenteur

Documenteur (1981)

Vernon Dobtcheff

Nicole-Lise Bernheim

Poetical tale of Anne-Marie Stretter, the wife of a French diplomat in India in the 1930s. At 18 she had married a French colonial administrator and went with him on posting to Savannakhet, Laos. There she met her second husband who took her away and for 17 years they lived in various locations in Asia. Now in Calcutta, she takes lovers to relieve the boredom in her life. Told in a highly visual style with little dialogue but a constant voice-over narrative by the different characters.—garykmcd

India Song

India Song (1975)

Stéphane Audran

Jean-Pierre Cassel

Several bourgeois friends planning to get together for dinner experience a succession of highly unusual occurrences that interfere with their expected dining enjoyment.—Ed Cannon

The Discreet Charm of the Bourgeoisie

The Discreet Charm of the Bourgeoisie (1972)

Gérard Lorin

Davide Montemurri

Jean Lanier

At a weekend gathering, a man tries to convince a woman that they had met there and spent some time together the previous year. The woman has no recollection whatsoever of having met this man and is convinced that he is just making all of this up. The more the man talks about their activities the previous year however, the more convincing he becomes. The question remains however - did they meet previously or not?—garykmcd

Last Year at Marienbad

Last Year at Marienbad (1961)

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