In January of 1966, the police discover the body of a man named George Figon in a Parisian apartment.
A story of changing times constant relationships and reconciliation with the past.
Offenbach's 1867 La Vie Parisienne is perhaps the quintessential French comic operetta: a broad satire on Paris society set against the backdrop of the 1867 Exposition and the descent of easily lampooned foreigners on to the city; sharp moments that Molière would be proud of; undercurrents of quick-fire farce, confusion, lust and mistaken identity; and a rich cast of characters racing inexorably to a can-can finale. This 1991 production by the Lyon National Opera presents a welcome opportunity to revel in a uniquely Gallic confection rarely seen outside France. It's also a chance to enjoy one of Offenbach's most inventive, melodic scores in which the starring musical role and many of the best tunes go to the orchestra, here conducted by Jean-Yves Ossonce. This is no accident: the operetta was originally created for a company of actors who relied on pastiche and the composer's help to get them through their "numbers". Not so these singers, of course. As Metella, the languorous courtesan who is responsible for the unravelling debacle, Helene Delavault is in meltingly good voice for her show-stopping rondeau, "A minuit sonnant commence la fete". Her sparring suitors Gardefeu (Jean-Francois Sivadier) and, particularly, Bobinet (Jacques Verzier) combine marvellous visual comedy with fluid singing and there is some dazzling vocal work from the supporting cast. It's a long piece, but hugely enjoyable. On the DVD: La Vie Parisienne has the usual, excellent booklet notes of ArtHaus DVD releases, which go some way to compensate for a disappointing lack of extras. Time, surely, to introduce some on-screen history or cross-references to other relevant works. The picture quality is good and sharp, although the 4:3 format does little justice to Carlo Tommasi's sweeping, stylish sets. The PCM Stereo soundtrack provides an adequate orchestral experience while managing to muffle much of the spoken dialogue. --Piers Ford
Featuring 3 winners of the Cannes Film Festival's highest honour. Christian Mungui's 2007 winner 4 Months 3 Weeks and 2 Days is a compelling drama set in the twilight years of Communist Romania. Jean-Pierre and Luc Dardenne's 2005 winner The Child (L'Enfant) is a gripping and suspenseful tale of guilt and redemption. Emir Kusturica's Underground is an epic tale of love friendship and betrayal set against the complex historical backdrop of the former Yugoslavia.
Francois Truffaut's filmic alter ego Antoine Doinel (first seen in 'Les Quatre Cents Coups') is once again the subject in this fourth of a series of five films. Antoine experiences the early years of marriage and faces fatherhood and adultery with a beautiful Japanese girl.
A well-oiled Jean-Claude Van Damme makes his starring debut in what may be one of the few kickboxing films to be based on a true story. The Muscles from Brussels plays Frank Dux, the first Westerner ever to win the extreme "whupfest" known as the Kumatai (a long-running, no-holds-barred fighting tournament in Hong Kong). While a bit deficient in the script department (to say the least), this undeniably exciting flick succeeds by letting Van Damme play to his strengths: namely, minimal acting and a lot of impossibly acrobatic splits while kicking people in the head. Bloodsport is a guilty-pleasure testosterone blast of the highest order, with a memorable villain (the massive Bolo Yeung from Enter the Dragon) and a multitude of well-choreographed fight scenes. An embarrassed-looking Forest Whitaker cameos as a hapless (and non-kickboxing) cop. --Andrew Wright
One of the most revered names in world cinema, Henri-Georges Clouzot, made a remarkably self-assured debut in 1942 with the deliciously droll thriller The Murderer Lives at 21 [L'Assassin habite au 21]. A thief and killer stalks the streets of Paris, leaving a calling card from Monsieur Durand at the scene of each crime. But after a cache of these macabre identifications is discovered by a burglar in the boarding house at 21 Avenue Junot, Inspector Wenceslas Vorobechik (Pierre Fresnay) takes lodging at the infamous address in an undercover bid to solve the crime, with help from his struggling-actress girlfriend Mila (Suzy Delair). Featuring audacious directorial touches, brilliant performances, and a daring tone that runs the gamut from light comedy to sinister noir, as well as a subtle portrait of tensions under Nazi occupation, this overlooked gem from the golden age of French cinema is presented in a beautiful new high-definition restoration. Special Features: Gorgeous new Gaumont restoration of the film in its original aspect ratio New and improved English subtitles A fully-illustrated booklet, including the words of Henri-Georges Clouzot and rare imagery
Based on the best-selling book which had sold millions of copies by the time the film was made The Happy Hooker tells the funny and feisty tale of Xaviera Hollander - a girl on the verge of discovering her sexuality her financial freedom and the lusty lucrative connection between the two. Now on DVD for the first time along with its equally outrageous sequels the sexy sultry and seriously seductive movie aims to please! Oscar nominee Lynn Redgrave stars as Xaviera Hollander a Dutch girl who comes to America and discovers not only a new lifestyle but a new way to make a living - getting paid for doing something she enjoys!
Antoine Doinel is back in civilian life after being discharged from the army. He is reunited with Christine Darbon the girl he was in love with before he joined the army. He needs a job and tries his hand as a night porter in a hotel but loses the job he also tries private investigation. Here he meets Fabienne who he becomes infatuated with meanwhile carrying on his relationship with the prim and proper Christine who he later proposes to.
Jules Et Jim (1960): Francois Truffaut's beautiful and enigmatic film about the lifelong friendship between two writers - French novelist Jim (Henri Serre) and Austrian children's author Jules (Oskar Werner) - and their mutual love for the eccentric Catherine (Jeanne Moreau). The story begins in 1920s Paris when Jules and Jim first meet and become friends. As young single men they gallavant about Paris chasing women or studying ancient art. When they meet the equally energetic Catherine whose impulses range from dressing up as a man to taking midnight plunges into the Seine their circle is complete. But when World War II erupts with Jules and Jim fighting on opposite sides everything changes. Jules marries Catherine before going off to battle. After the war they settle into a quiet existence in the French countryside. But Catherine is restless and unfaithful. Jim reunites with his oldest and closest friend and Catherine makes room for him in their house asking him to move in and become her lover. Jim complies as he wants nothing more than to please his friend Jules who agrees to the plan... The Last Metro (1980): Winning an incredible ten French Academy Awards in 1981 The Last Metro is one of Truffaut's most highly acclaimed and popular films. Starring Catherine Deneuve and Gerard Depardieu in magnetic performances the story is set in Paris 1942 during the Nazi occupation of France. When Lucas Steiner (Heinz Bennett) the Jewish owner of the Montparnasse Theatre is forced into hiding his wife and lead actress Marion (Deneuve) takes over. Desperate to keep both the troupe and Lucas alive she stages a new play which must be a success to continue. She hires the womanising actor Bernard Granger (Depardieu) for the lead in their next production. Just as the actors begin their rehearsals an anti-semitic journalist ensconces himself in the theatre creating an atmosphere of fear and insecurity. Will he discover Lucas' hideaway and the political affiliations of the group's lead actor? Truffaut delivers a captivating study of artists (the actors) struggling against the odds (the Nazis) and a compelling insight into the atmosphere of wartime Paris and the theatre set against a backdrop of exquisite period detail. La Peau Douce (1964): Pierre is a successful happily married publisher who meets Nicole a lovely airplane stewardess and begins a lustful affair with her. As his passion deepens he realizes he must choose between his wife Franca and his mistress. However the movie takes a suprising twist leading to one of the most startling conclusions in film history... The 400 Blows (1959): Praised by film-makers and critics the world over Truffaut's 400 Blows launched the Nouvelle Vague and paved the way for some of cinema's most important and influential directors. Twelve-year-old Antoine Doinel has troubles at home and at school. Ignored and neglected by his parents his relationship with his mother is further strained when he discovers that she has taken a secret lover. Added to this his school teachers have written him off as a troublemaker and with luck seemingly never on his side it is Antoine who ends up getting the blame for bad behaviour. Finding refuge only in his love of cinema Antoine soon finds it necessary to break free and discover what the world can offer outside of the confines of his everyday life. This remarkable film features the extraordinary talent of Jean-Pierre Leaud as the rebellious Antoine a character based on Truffaut himself. Doinel was to make appearances in a number of Truffaut's films (including Stolen Kisses Bed and Board and Love on the Run) all of which chart his further adventures into adulthood.
The final film in François Truffaut's autobiographical 'Antoine Doinel' series which follows the director's screen alter ego from adolescence (in 'Les Quatre Cents Coups') to the complications of married life here. Separated from his wife novelist Antoine is having an affair with Sabine (Dorothee). When seeing off his son at a train station he spots his first love Colette (Marie-France Pisier) and jumps into her carriage. Colette is now seeing Sabine's brother Xavier (Daniel Mesguich) and soon all four protagonists are back in Paris attempting to reconcile their lives.
THREE COLOURS BLUE - The first instalment of the late Polish director Krzysztof Kieslowski's trilogy on Liberty, Equality and Fraternity, the three colours of the French flag. Blue is the most sombre of the three, a movie dominated by feelings of grief. As the film begins, a car accident claims the life of a well-known composer. His wife, played by Juliette Binoche, does not so much put the pieces of her life back together as start an entirely new existence. BABETTES FEAST - Babette's Feast is a film which depicts so little, yet says so much. Set in a rural Danish community, it centres around the twin sisters of the village pastor and the French women who serves them after fleeing the 1871 revolution. On winning the lottery she plans a feast to mark the centenary of the sisters' father, bringing a dimension of fine living into the lives of the God-fearing Lutherans and healing festering personal animosities in the process. THE 400 BLOWS - Francois Truffaut's semi-autobiographical first feature stars Jean-Pierre Léaud as Antoine Doinel, an unruly young Parisian whose unhappiness leads him into trouble. Frequently running away from school and home, Antoine spends much of his time playing with his friends on the steets of the city; but events take a more serious turn when an accusation of plagiarism leads him to quit school and the theft of a typewriter lands him in trouble with the police. SAWDUST AND TINSEL - While traveling in caravan through the country of Sweden, one member of the decadent Alberti Circus tells the owner and ringmaster Albert Johansson a sad story about the clown Frost: seven years ago, his wife Alma was surprised by him bathing naked in a lake with a regiment.
A documentary featuring Ben Harper and the Innocent Criminals. In Pleasure + Pain famed rock photographer/director Danny Clinch shows us the Ben Harper millions of fans around the world have come to know and love: a gifted and charismatic young singer/songwriter who plays with an unparalleled sense of passion and melody. Then Clinch digs deeper using unconventional angles and various film stock to paint an unassuming yet completely mesmorising portrait of Harper's life both on the ro
Antoine Doinel has married Christine Darbon. He's working for a florist tinting flowers in the courtyard of the building where they live. Their neighbours are an eccentric bunch including an opera singer and his wife a man in voluntary confinement a waitress in love and a mysterious man nicknamed ""the strangler"". Antoine begins working for an American company and shortly afterwards finds that Christine is to have a baby. But here Antoine and Christine's happiness ceases as Antoine become obsessed with Kyoko a beautiful exciting Japanese girl he meets at work and becomes more and more distant from Christine.
Based on the novel by Pierre Mac Orlan the inimitable team of director Marcel Carne and writer Jacques Prevert deliver a quintessential example of poetic realism one of the classics of the golden age of French cinema. Down a foggy desolate road to the port city of Le Havre travels Jean (Jean Gabin) an army deserter looking for another chance to make good on life. Fate however has a different plan for him when acts of both revenge and kindness turn him into front-page news. Also starring the blue-eyed phenomenon Michele Morgan in her first major role and the menacing Michel Simon Port Of Shadows (Le Quai des brumes) starkly portrays an underworld of lonely souls wrestling with their own destinies.
Screen legend Boris Karloff plays a blind sculptor who uses skeletons as the basis for his unorthodox works of art. Unbeknownst to him his wife Tania (Viveca Lindfors) and her lover provide the skeletons by murdering people and dumping them in an acid bath they keep in the basement laboratory. A journalist played by Jean Pierre Aumont and his girlfriend are the straight couple who trigger the climax after their friend Helga has been given the acid treatment. 'Colonel March of Sc
The final film in François Truffaut's autobiographical 'Antoine Doinel' series which follows the director's screen alter ego from adolescence (in 'Les Quatre Cents Coups') to the complications of married life here. Separated from his wife novelist Antoine is having an affair with Sabine (Dorothee). When seeing off his son at a train station he spots his first love Colette (Marie-France Pisier) and jumps into her carriage. Colette is now seeing Sabine's brother Xavier (Daniel Mesguich) and soon all four protagonists are back in Paris attempting to reconcile their lives.
François Truffaut's second adaptation of a Henri-Pierre Roche novel (the other being 'Jules et Jim') is also about a menage-à-trois although this time set in nineteenth century Wales. Claude (Jean-Pierre Léaud) an aspiring young French writer spends a holiday on the Welsh coast with an English family and falls in love with the two daughters Ann (Kika Markham) and Muriel (Stacey Tendeter).
Peter Wintonick whose Manufacturing Consent: Noam Chomsky and the Media is one of the bestselling documentaries of all time has directed this unique 'documentary of documentaries' shot with lightweight equipment in vrit style in widescreen digital video. Rich in footage from classics such as Primary (J F Kennedy) Lonely Boy (Paul Anka) Jane (Jane Fonda) Don't Look Back (Bob Dylan) Nanook of the North and the Blair Witch Project
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