Monique Prim

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

A lackadaisical handyman and aspiring novelist tries to support his younger girlfriend as she slowly succumbs to madness.

A dockworker seeking revenge on the killer of his sister finds himself the object of desire for two women.

Jules, a young Parisian postman, secretly records a concert performance given by the opera singer Cynthia Hawkins, whom he idolises. The following day, Jules runs into a woman who is being pursued by armed thugs. Before she is killed, the woman slips an audio cassette into his mail bag...

Eight years after May '68, they are all in their forties and all met to live in a small village in Provence: Julie, Simon, Alice, Maria, Gustave, Claude and Claudine.

In 1977, after working as an assistant director on several features, BETTY BLUE filmmaker Jean-Jacques Beineix directed the following short film about a man and his dog.

The head of a failing French family thinks that fate has smiled down on him when the daughter of a wealthy man agrees to be married to his son. The daughter and her aunt then travel out to the French countryside to meet with the family, unaware that a mysterious 'beast' is stalking the vicinity.

Aimless young Alexandre juggles his relationships with his girlfriend, Marie, and a casual lover named Veronika. Marie becomes increasingly jealous of Alexandre's fling with Veronika and as the trio continues their unsustainable affair, the emotional stakes get higher, leading to conflict and unhappiness.

Céline is a free-spirited woman is married to a dull, middle manager Philippe. Her husband's co-worker pegged her as a household ornament because of the union. She befriends a woman who shows her how to juggle the couple's living expenses to get what she wants. As she asserts her independence and gradually frees herself from her husband's claustrophobic world, she turns to painting and writing about the inequity between genders.