Jean-Pierre Léaud

The Departure

The Departure (1967)

Aki Kaurismäki

Kenneth Colley

After fifteen years' service, Henri Boulanger is made redundant from his job. Shocked, he attempts suicide, but can't go through with it, so he hires a contract killer in a seedy bar to murder him at some unspecified time in the future. But almost immediately he meets and falls in love with Margaret, a flower-seller, which makes Henri realise that his life has some meaning after all. But when he goes back to the bar to cancel the contract, he finds it has been demolished - and there's no way he can get in touch with the killer...—Michael Brooke

I Hired a Contract Killer

I Hired a Contract Killer (1990)

A dock worker in Le Havre hears a human sound inside one of the containers in port, that container which left Gabon three weeks ago and which was supposed to arrive in London five days after its departure from Gabon, which didn't happen. The Le Havre police and French border guards find a still alive group of illegal African immigrants inside. On the sign from one of his elders, a young teen boy among the illegal immigrants manages to escape, news of which hits the local media. The first friendly face that boy, Idrissa, encounters is that of former artist now aged shoeshine Marcel Marx. Marcel decides to help Idrissa by hiding him in his house, news which slowly trickles through his community of friends - most of whom he associates with at his local bar - and neighbors, most who assist Marcel in this task. Marcel goes to great lengths to find out Idrissa's story, which leads to Marcel's further task of trying to get Idrissa to London, his original end destination. The one neighbor who wants to turn Idrissa in and the authorities seem to be on to Marcel's activities, most specifically hard nosed police Inspector Monet, who may have his own private agenda. Through it all, Marcel has on his mind the health of his terminally ill and hospitalized wife Arletty, the terminal aspect being something of which he is unaware and which may in turn eventually kill him as Arletty is his life.—Huggo

Le Havre

Le Havre (2011)

Vincent Lacoste

Mathieu Amalric

Camille was sixteen years-old when she met Eric. They fell madly in love and had a daughter... 25 years later: Eric is leaving Camille for a younger woman. That's New Year's Eve, and Camille suddenly finds herself back in her past. She is sixteen again and has returned to her parents, her girlfriends, her childhood... and Eric. Will she flee and try to change the course of their lives? Will she fall in love with him again, even though she knows how their story will end?—lletaif

Camille Rewinds

Camille Rewinds (2012)

Rada Rassimov

A Latin-American insurgent and a black leader join forces to free an African nation. But they'll have to face a German mercenary aided by an American agent and a Portuguese advisor, all working for a mysterious woman.

Der Leone Have Sept Cabeças

Der Leone Have Sept Cabeças (1970)

Louis Malle

Three penniless artists become friends in modern-day Paris: Rodolfo, an Albanian painter with no visa, Marcel, a playwright and magazine editor with no publisher, and Schaunard, a post-modernist composer of execrable noise. Rodolfo falls in love with Mimi, a barmaid. The day he asks her to move in with him, he is deported. Six months later, he sneaks back to Paris, and Mimi leaves her new boyfriend to be with him. Conflicts arise, especially around their poverty, and soon Mimi and Rodolfo separate, as do Marcel and his Musette. The three men scrape together a meal to celebrate All Saints' Day, and Mimi arrives, ill. Can her friends bring her back to health? Can love rekindle?

The Bohemian Life

The Bohemian Life (1992)

In Paris, Alexandre, an unemployed young man with memories of the May 1968 events in France, attempts to persuade his former love, Gilberte, to marry him. Gilberte opts to instead marry another man. Alexandre is involved with a live-in girlfriend called Marie, and is interested in films such as The Working Class Goes to Heaven. One day, after an unsuccessful reconciliation with Gilberte at the highly popular Les Deux Magots café, he meets Veronika, a Polish French twenty-something nurse. In the midst of the sexual revolution, Veronika is highly promiscuous, and begins to make advances on Alexandre. During the summer of 1972, Alexandre and Marie are nude in bed in their apartment when Veronika visits. Marie lets her in and Veronika insults both of them, but acknowledges she is not pure herself. The three begin a ménage à trois and sleep in the same bed, with Veronika assuring Alexandre she and Marie both love him, and telling him to be more happy with his situation and life. Although Marie affirms her indifference to Alexandre's affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to a growing estrangement between her and Alexandre. As the three sit together, Veronika attempts to reassure Marie about her looks and body. Tearfully, Veronika speaks about how she believes no women are truly whores, and how love is meaningless unless it produces a child.

The Mother and the Whore

The Mother and the Whore (1973)

Jean-Luc Godard

How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions. In addition to the two characters' musings, the soundtrack includes narration, music, news clips, and noise. The result is a montage, a meditation, a reflection on ideas and how words and images mix - and how filmmaking is a path.

Le Gai Savoir

Le Gai Savoir (1969)

Henri La Tour, a strolling player, is also a daring adventurer. So, when, after accomplishing a brilliant feat, he is awarded a title by King Louis XV, the Duke of Saint-Sever takes offense at it and challenges Henri to a duel. However, while they fight, a group of Austrian soldiers appear suddenly and the two rivals instantly unite to repel their enemies. Unfortunately, Saint-Sever is mortally wounded and, feeling he is about to die, he entreats his new friend to offer protection to Toinon, his natural daughter, whose life is being threatened...

King on Horseback

King on Horseback (1958)

Anna Karina

Marianne Faithfull

In the near future, leftist writer Paula goes from Paris to the French town of Atlantic-Cité when she learns of the death of a former colleague and lover, Richard P. Is she there to investigate? On the surface, faces are beautiful, colors bright, clothes trendy. Beneath, little is clear: some talk to Paula as if she's Alice in Wonderland, corpses pile up, and ideological struggles insert themselves. A murder victim's nephew and a political party's hired hands hover around Paula. Is obscuring things her goal or is it life that's obscure? —

Made in U.S.A

Made in U.S.A (1966)

Frédéric Pierrot

Valeria Bruni Tedeschi

Aurore Clément

In Lyon, where many are unemployed, Marie is a prostitute who loves her work: she's thoughtful and exuberant toward clients old and young, slim or flabby. One night, a homeless man sleeps in the foyer of her apartment house; she gives him a hot meal, then a place on the floor to sleep by her radiator, then she offers herself. She falls in love, giving him new life, clothes, a place to live. When he grouses that he must bar hop while she uses the flat for her work, she finds them a larger flat. He grows restless, seducing a manicurist and pressing her to prostitution. He's arrested for procuring, so Marie must decide what to do; he, too, must face the consequences of his choices. —

My Man

My Man (1996)

Kika Markham

François Truffaut

At the beginning of the 20th century, Claude Roc, a young middle-class Frenchman meets in Paris Ann Brown, a young Englishwoman. They become friends and Ann invites him to spend holidays at the house where she lives with her mother and her sister Muriel, for whom she intends Claude. During these holidays, Claude, Ann and Muriel become very close and he gradually falls in love with Muriel. But both families lay down a one-year-long separation without any contact before agreeing to the marriage. So Claude goes back to Paris when he has many love affairs before sending Muriel a break-off letter... —Yepok

Two English Girls

Two English Girls (1971)

Michael Lonsdale

Delphine Seyrig

Antoine Doinel joined the army but has just been discharged. The film tells his reunion with Christine Darbon, the girl he was in love with before the beginning of the film, and his adventures in his jobs : first as a night watchman, then as a private investigator, especially during one investigation within Mr Tabard's shoes-shop... Mme Tabard is so fascinating... —Yepok

Stolen Kisses

Stolen Kisses (1968)

André Dussollier

Antoine Doinel is now more than thirty. He divorces from Christine. He is a proofreader, and is in love with Sabine, a record seller. Colette, his teenager love, is now a lawyer. She buys Antoine's first published autobiographical novel. They meet again in a station... —Yepok

Love on the Run

Love on the Run (1979)

A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism. —Stephan Eichenberg

La Chinoise

La Chinoise (1967)

This short film is the first segment of five in the multinational feature L'amour à vingt ans (1962), all five segments on the theme of first adult love. After indulging in much delinquency in his youth, seventeen year old Antoine Doinel, having been provided opportunity to get out of that delinquent life, is now an upstanding member of society working for Philips Records, which allows him to indulge in his love of music. At the Youth Concerts, he has noticed the same young woman at several performances, she who he would like to get to know. She is Colette, the two who do begin to date. Colette treats Antoine like a buddy, while Antoine has fallen in love with her. His pursuit of getting Colette to be his exclusive girlfriend is helped on the surface in the fact that Colette's parents like him and encourage their dating. He uses grand romantic gestures to try and prove his love. Will Colette ultimately fall under Antoine's romanticism? —Huggo

Antoine and Colette

Antoine and Colette (1962)

Mathieu Demy

Agnès Varda

Jane Birkin

"I'll look at you, but not at the camera. It could be a trap," whispers Jane Birkin shyly into Agnès Varda's ear at the start of JANE B. PAR AGNES V. The director of CLEO FROM 5 TO 7 and VAGABOND once again paints a portrait of a woman, this time in a marvelously Expressionistic way. "It's like an imaginary bio-pic," says Varda. Jane, of course, is the famed singer ("Je t'aime ... Moi non plus"), actress (BLOW UP), fashion icon (the Hermes Birkin bag) and longtime muse to Serge Gainsbourg. As Varda implies, JANE B. PAR AGNÈS V. abandons the traditional bio-pic format, favoring instead a freewheeling mix of gorgeous and unexpected fantasy sequences. In each, Jane inhabits a new character, playing a cat & mouse game with Varda as they explore the role of the Muse and the Artist, all the while showcasing the multifaceted nature of Birkin's talent. "I'd like to be filmed as if I were transparent, anonymous, like everyone else," says Birkin. But her wish to be a "famous nobody" is impossible to achieve; Birkin is simply too magnificent, too mesmerizing. Here, Varda's signature mix of aesthetic innovation and generosity of emotion results in a surreal and captivating essay on Art, Fame, Love, Children and Staircases. For its first-ever U.S. theatrical release the film has been newly-restored from the original 35mm camera negative, overseen by director Varda herself.

Jane B. for Agnes V.

Jane B. for Agnes V. (1988)

Alain Delon

Romy Schneider

A sailor has a brief affair with a young secretary.

Love at Sea

Love at Sea (1964)

Upon returning from a hunting expedition, King Louis XIV feels a sharp pain in his leg. He begins to die, surrounded by loyal followers in the royal chambers.

The Death of Louis XIV

The Death of Louis XIV (2016)

Raquel Welch

Jeanne Moreau

Elsa Martinelli

A collection of sketches on prostitution through the ages. 1) "The Prehistoric Era": A caveman discovers that a cavewoman is more attractive when cave paint is applied to her face. And she can earn more seashells that way. 2) "Roman Nights": The Emperor (Gastone Moschin) goes out seeking a little nocturnal amusement, only to find that the high-priced, Oriental courtesan he hires is his wife, the Empress (Elsa Martinelli). 3) "Mademoiselle Mimi": In revolutionary France, Mimi finds that her client, the nephew of a marquis, is more interested in watching the guillotinings out her window than he is in going to bed. 4) "The Gay Nineties": When Nini (Raquel Welch) discovers by accident that her antiquated customer is a banker, she pretends to be an honest woman who has fallen in love with him. She even pays him, just like a gigolo. 5) "Paris Today": Two girls pick up clients by driving around in a car, and then an ambulance. Police pull the vehicle over for speeding. 6) "Anticipation": Demetrius (Jacques Charrier) has just arrived on Earth from another galaxy. But the girl brought to him by the commissar, Hostess 703 (Anna Karina), is not a "physical love" girl; she's a "sentimental love" one, who only knows how to excite men with language. —David Carless

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