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While collecting flowers for his mother, unmotivated student Thomas (Nicolas Giraudi) is accosted by escaped prisoner Martin (Wadeck Stanczak) who threatens Thomas with bodily harm if he does not return with enough money for the man to buy a train ticket. Thomas goes to several people in his immediate family for the money. His mother Lili (Catherine Deneuve) is a free-spirited single mother who has recently set up ownership and management of a dance bar, and whose separation from Thomas father Maurice (Victor Lanoux) causes confusion and rebellion in the boy. Read More »

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The multi-part film is a difficult kind of cinema to get right but Duvivier’s Le Diable et les dix commandements is a rare exception where the form succeeds admirably. The film consists of seven roughly 15 minute sketches, each showing what may happen if one or more of the Ten Commandments is broken. Each sketch is self-contained (except for the last which returns to the first) and linked by a nasty slithery serpent who has a very strange sense of humour. The sketches are either mini-dramas, usually with a clever twist at the end (the best instance of this being the second sketch: “Do not commit adultery”), or comic. The sketch featuring “Do no steal” is an outrageous comic farce with Jean-Claude Brialy and Louis de Funès, made even more hilarious by Duvivier’s unsubtle attempt to ape the New Wave film directors.Read More »

Silently, a woman wakes on a beach as the tides go in reverse. Her dreamscape unfolds as she tries to locate a chess piece traveling from the beach to a party to a country road and then back.Read More »

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Red Cow is a coming-of-age film that takes place in the days leading up to the assassination of Rabin and depicts the life of Benny, 16, orphaned from mother at birth and the only child of Joshua – a religious, right-wing extremist, in those critical junctures when she is forming her sexual, religious and political awareness.Read More »

While en route to a nightclub, playboy Hal (José Gras) has a violent run-in with a neo-Nazi biker gang which ignites a series of vicious revenge attacks that culminate in murder.Read More »

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A deadly car crash sets off three parallel stories of women at crisis points, faltering behind the doors of the same, plain Vienna apartment block. A bored nurse with a stable, comfortable family life has a wild but almost-wordless extramarital affair with a fashion-conscious traveling salesman, who’s obsessed with sex photos. An unstable young Austrian grocery checker lies to hold on to her philandering Yugoslavian boyfriend, claiming she’s pregnant. Finally, a recent divorcée whose violent, ex-husband is a King of Denial intent on getting her back. Will the residents’ fibs and moral failures save or destroy them ? Can the women safely express their fears ?Read More »

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There are arguably no bigger cinematic icons of America than John Wayne – the right wing side of America steeped in violence and guns, and James Stewart – the left wing side of America rooted in humanity, understanding and intelligence. And there is arguably no finer chronicler of America’s mythology and past than John Ford. Put them together and you get one of the finest westerns ever made.Read More »

Abel Ferrara headlines a film retrospective and a series of concerts in France dedicated to songs and music from his films. Preparations with his family and friends will form the material of this self portrait, showing another side of the director of legendary films Bad Lieutenant, The King of New York and The Addiction. Ferrara is joined on stage by past collaborators, including composer Joe Delia, actor-singer Paul Hipp and his wife actress Cristina Chiriac, for concerts at the Metronum in Toulouse and the Salo Club in Paris in October 2016.Read More »

Giving voice to the anguish of a nation fighting for its soul, Usmar Ismail’s After the Curfew follows the descent into disillusionment of a former freedom fighter who is unable to readjust to civilian life following the revolution that gave Indonesia its independence from the Netherlands. Steeped in moody atmospherics and psychological tension, the film struck its national cinema like a bolt of lightning, illuminating on-screen, for the first time and with unflinching realism, the emotional toll of Indonesian society’s postcolonial struggles.Read More »