André Julien

Bruno is released from prison. He looks for a job and tries to start a new life. His first stop is at his father's apartment.

The film tells the story of a group of pensioners desperate to visit Le Mont-Saint-Michel.

22 year-old- Yan is trying hard to find his way in life: a job he likes, an ideal. In Saint-Nazaire, his home town, he vegetates, just like his father, an unambitious worker. His fiancée, Juliette, has middle class values and dreams of nothing but a comfortable married life. Dissatisfied, he moves to Paris where he becomes an assembly line worker at the Billancourt Renault car factory. Sick of the working conditions he and his fellow workers have to endure there, he soon turns into a leftist activist...

Ticky Edriss, a dwarf, develops a scheme to avenge him on society and extort a bank.

A true story shot in a German Impressionistic style. In France during the Nazi occupation, Dr. Petiot (Michel Serrault) offered to help Jews escape the Nazis. They would come to his house, and he would kindly give them lethal "vaccinations" for their anticipated travel to Argentina. Then he would steal everything the brought with them (in addition to their up-front payment to him) and burn their bodies in his home-made crematorium.

A beautiful woman hires an intrepid adventurer to help find her father, who has disappeared in the jungle while searching for a rare and priceless butterfly. Along the way they run into cannibals, a race of Amazon warriors and all the usual attractions one would expect to find in a lost jungle.

Perdican, his studies completed, returns to his family castle at the same time as Camille, returning from the convent where she was raised. The two young people are promised to each other, but the young girl appears distant. Out of spite, Perdican courts Rosette, a peasant girl, Camille's foster sister who, for her part, announces her plan to take the veil. Perdican announces his marriage to Rosette. On the eve of the wedding, Camille and Perdican finally confess their love to each other. But Rosette, who heard everything, commits suicide, which separates the two lovers forever.

No overview available.

After his fiancée leaves him, Tom finds himself alone and helpless. He has to wash his clothes himself and so goes to the laundromat. There, he meets a quaint tribe and opens up to a new world and incredible horizons.

After serving his sentence, a robber returns to his small, quiet hometown to retrieve the loot. But a ruthless Police inspector and his equally nasty young subordinate are after the criminal.

Henri Verneuil was born Achod Malakian of Armenian parentage on October 15, 1920, in Rodosto, Turkey, and his family fled to France and settled in Marseilles when he was a young child. He later recounted his childhood experience in the novel Mayrig, which he dedicated to his mother and made into this 1991 film with the same name.

In this film that sends up the foibles of filmmaking, a standard crew of actors, stage-hands, director, writers, producers, and others are gathered for the filming of a 45-second automobile commercial. Each role embodies an archetype (the harried director who has a deadline to meet, the Scrooge production manager who has a budget to meet, and the writers who are above these mundane concerns), and these personalities drive the working actors over the edge until they decide to lock them up and do their own thing -- happiness can be just around the corner if you are in the driver's seat. Hopefully, the actors will be able to bow out before the police catch on to the situation.

Following the May 1968 civil unrest in France, two theater groups rehearse plays by Aeschylus while two solitary individuals wander the Parisian streets hustling the populace for cash.

Les Cent Livres des Hommes (ORTF, 1969-1973) was a series of literary programs created by Claude Santelli and Françoise Verny, and produced notably by Santelli, Jean Archimbaud, and Serge Moati. Planned for one hundred episodes but completed at thirty-nine, the series aimed to introduce great literary works, 'chefs-d’œuvre', to a younger audience through a mix of dramatization, reading, and documentary techniques. It marked a transfer of cultural legitimacy from writers and critics to a generation of television producers, offering a new model of educational and creative literary broadcasting - 'télévision d’auteur'.