Post-9/11 paranoia drives a wedge between a Parisian couple who think they've stolen money from terrorists
Oh dear. Having rediscovered his ruthless accuracy (and critical acclaim) with Short Cuts and The Player - a lean, stalking satire on the monstrosity of Hollywood's studio system - Altm
Lelouch revisits the couple of his classic Oscar-and Palme d'Or-winning A Man and a Woman, no doubt hoping to revive his flagging fortunes on the international market. Trintignant and Aimée are
Bertolucci's itchy satire stars Ricky Tognazzi (snr) as a cheese magnate (okay, the owner of a dairy factory), whose son is kidnapped by terrorists. What's the man to do? Give up the ransom money and
Deneuve is on top form here as the woman who is sentenced to 20 years in prison as an accessory to murder, gives birth shortly after and is forced to give up her son. Two decades later, the boy havin
In 1960 Aimée played the title role in Lola. Nine years on, the same character and actress, now rather fatigued, is working in LA, trying to earn her fare back to France. She becomes romanticall
Trimming the four volumes of Lawrence Durrell's Alexandria Quartet into two-hour-film form proves impossible, even for a director of Cukor's talents. His task was complicated further in that he repla
Lawyer Sharif falls for and marries Aimée, the fiancée of a colleague. However, he soon begins to suspect that Aimée may in fact be a high-class call girl, and begins to follow her. Sh
An attractive love story that made the international reputation of director Lelouch and created a cliché for romantic scenes to be shot in sepia as well as launching an irritatingly catchy tune
Aldrich turns his hand to the biblical epic. Of course, the director of Kiss Me Deadly was never going to be satisfied with a straightforward swords and sandals number and sure enough he homes in on
Fascinating and highly-influential masterpiece from Federico Fellini, about a troubled, semi-autobiographical filmmaker, played by Marcello Mastroianni
Dedicated to Max Ophüls and borrowing his masterly fluid camera movements and the title of his last film (Lola Montes), this romantic debut remains one of Demy's most accomplished films, neither
Franju set his first feature in a mental home in which Mocky, a wealthy layabout, has been committed (rather too easily) by his father simply because the young man had vandalized his desk. He befrien
Share this