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- Assassinated during WWII, Jean Zay (1904-1944) nevertheless left a lasting legacy in French political history. A great reformer, he particularly helped to structure the French film industry to ensure its sustainability and its influence.
- Presented without comment, the film consists of images from a rehearsal of Stravinsky's ballet 'Petrushka', in which John Neumeier, Director of Dance at the Hamburg Opera in the role of the Master, works with Patrick Dupond, principal dancer at the Paris Opera, in the role of the Slave.
- The viewer is invited to a visit of the amazing display of films, projectors, posters and vehicles, some of which unique, collected by two enthusiasts, the late René Charles and Guy Coursaud, then stored in a large warehouse in Angoulême. Besides René Charles' widow and Guy Coursaud himself, a couple of specialists comment to light up your lantern.
- Gaston Méliès' filmmaking voyage through Asia-Pacific between 1912 and 1913, from California to Polynesia, New Zealand, Australia, Java, Singapore, Cambodia and Japan.
- Documentary investigation of a classic French film director features interviews with some of those who knew him.
- Philibert Bretonneau signs novels which are actually written by Moluchet, his secretary, secretly in love with Bretonneau's charming wife, Pauline... One day, Jim la houlette, the king of thieves, resurfaces in France. He steals jewels from Madame Clisson, the wife of a lawyer. Saint-Lévy, Bretonneau's publisher, has an idea : to simulate the theft of a manuscript by Jim la houlette, in fact by Moluchet posing as the criminal. But Moluchet, confronted by the real Jim, lets him run away and is arrested...
- Six films by photographer Paul Nadar in 1896 were combined into a program in 1970 by the Cinemathèque Francaise. It contains four dance routines and two Paris-based actualities.
- This program is put together from surviving fragments of silent films, the rest of which have otherwise been lost, found in various archival collections.
- A Ruizian adaptation of Jean-Claude Gallotta's iconic wordless ballet choreography.
- A French documentary film about World War I.
- Vouvray, Indre-et-Loire, France. It's autumn and harvest time is here again. The day will be fine. Jeanne, a young sensual vineyard worker, who turns on all the boys, has seduced to grape-picking men.. Which of the two rivals will get her? How will the loser react?
- Two soldiers who guard a building in Paris. An abandoned suitcase, curious passers-by, an open window and a mad homeless allow to step up the situation. The border between everyday life and real danger blurs.
- This program is put together from the rushes of the original 1936 shooting, which had been stored for almost sixty years at the French Cinematheque in Paris.
- Follows the life and work of animator Lotte Reiniger.
- Gambler "On-the-Level" Leigh gives up his profession for his little sister, Alice, whose precarious health demands that she move to the mountains. There, the gambler meets the fiery dance hall girl Coralie whose advances he rejects. His funds exhausted from the expense of the move, Level unwillingly returns to his old profession, but Coralie induces the dealer to "cold deck" Level, and he loses every cent. Out of desperation, Level decides to hold up the passengers of the stagecoach while unknown to him, Black Jack shoots and kills the driver for the express box. Learning of the driver's death, Level surrenders himself to the law and is jailed. Escaping from his cell, Level discovers Black Jack uncovering the express box and arrests him. Level returns to town with the real murderer, is cleared of all charges and is reunited with his sweetheart, Rose Larkin.
- Brief, fragmented memories of Rohmer spoken by Godard, while the screen shows various titles of articles Rohmer wrote for Cahiers du Cinema.
- Paul Verhoeven, a Dutch filmmaker for whom sex, violence and religion are "the three most important elements on Earth", likes to press where it hurts. Born in 1938, he grew up in The Hague under the German occupation, in the fury of bombings and summary executions. Inspired by comics and the New Wave, atheist but passionate about the historical figure of Jesus, Paul Verhoeven lets his darker side and his complexity shine through his characters, and pushes them to transgression. In Hollywood, he is pampered and has had a string of successes ("Robocop", "Total Recall", "Basic Instinct") without giving up his obsessions. Michael Douglas and Isabelle Huppert, the heroine of his latest feature film, "Elle", confide in us.
- Truffaut au présent is a film divided in three shorts; throughout "Acteurs", "Actrices" and "Couples" we explore François Truffaut's legacy and influence on contemporary French cinema.
- A trip all along the Spanish cinema that analyzes the sexist point of view offered in many films about women. The documentary includes scenes from the times of the Spanish republic to the present.
- To the elegant music of Contempt, a stranger in a hat seems to be watching for something in front of what looks like a suburban pavilion. A man wakes up.
- Montage of short french silent films made by Henri Langlois for an exceptional screening in march 1974.
- Eric Rohmer leads a conversation with Jean Renoir and Henri Langlois on the art of filmmaker Louis Lumière. The cinematographic pioneer Lumière produced thousands of documentaries in the end of the 19th century, but also some short comedies with amateur actors. The films are done in one shot and are only 1 minute in length. Lumiére and his operators chose a place, put up the camera and then recorded what happened in front of the lens. In spite of this both Renoir and Langlois argue that the films of Lumière are not simply reproductions of reality, but pieces of art. Renoir points out that Lumiére didn't just reproduce the externals of what he saw, but also its spirit and inner life. The films are not only showing a piece of contemporary reality, but Lumière's vision of that reality. Langlois remarks that the films of Lumière were not made at random, but out of a consciously chosen dramaturgy and composition. Lumiére and his team chose, after long deliberations, the motif of the film as well as the camera-angle. There is usually some kind of beginning and end of the film. The main action never occurs in the center of the screen, but either at the right or the left side of it. This means that the main movements happen along a diagonal across the screen, which produces a dynamic impression. The films are made in one shot, but the shots are usually very deep, which means that you get some close-ups in the foreground at the same time as you see something happen in full scale behind that and something else even more far away. The conversation with Renoir and Langlois is interspersed with some of Lumière's films, to underline the arguments.