Camille de Casabianca

How do those who may die tomorrow live? Camille visits Louis and then Rosa. These images, shot by Raymond Depardon and Patrick Blossier, introduce her approach. In a playful intimacy, she then begins to film Germaine.

How do those who may die tomorrow live? Camille visits Louis and then Rosa. These images, shot by Raymond Depardon and Patrick Blossier, introduce her approach. In a playful intimacy, she then begins to film Germaine.

How do those who may die tomorrow live? Camille visits Louis and then Rosa. These images, shot by Raymond Depardon and Patrick Blossier, introduce her approach. In a playful intimacy, she then begins to film Germaine.

From his diary, filmed over ten years, filmmaker Alain Cavalier invites us to a meditation on old age, weakness and death. Made of moments of life, fragments of images, this film composes a mosaic where the spectator is invited to also find his place by himself...

Within the French judo team, which accepts a camera for the first time, Larbi Benboudaoud, the great favorite, prepares the next world championships. Every day, he sharpens his body and his mind for the fight. The competition is tough. Will he keep his title?

When Valérie's husband Yves confesses he's in love with another woman, she happens into a judo club and begins lessons. She likes it, she's a natural, and she's attracted to Bruno, the quiet instructor. He likes her as well, but sees social class as a barrier, and Yves never seems to be too far away. Valérie's two close friends have their own stories: Annette is continuously looking for a husband, with little luck. Clara cares more about wealth and power, and takes up with the country's finance minister, an older man who flips for her. Meanwhile, Yves's lover doesn't seem in a hurry to leave her husband, so Valérie looks good to him from time to time. Will Bruno ever make a move?

When Valérie's husband Yves confesses he's in love with another woman, she happens into a judo club and begins lessons. She likes it, she's a natural, and she's attracted to Bruno, the quiet instructor. He likes her as well, but sees social class as a barrier, and Yves never seems to be too far away. Valérie's two close friends have their own stories: Annette is continuously looking for a husband, with little luck. Clara cares more about wealth and power, and takes up with the country's finance minister, an older man who flips for her. Meanwhile, Yves's lover doesn't seem in a hurry to leave her husband, so Valérie looks good to him from time to time. Will Bruno ever make a move?

In this mainstream French comedy, a television writer creates a hit series based on the experiences of her housekeeper. The writer Nathalie does this in desperation as she has a deadline and is utterly blocked. She goes to Petlet and begins transcribing her memories of the lively goings on in her rural home village. Each memory is an episode in itself, and the show becomes a smash hit, but when Petlet realizes that her boss has been cashing on her life stories and taking all the credit, she gets angry and quits leaving Nathalie with no maid and no one to watch her children. Later Petlet's adult children demand that their mother return to demand credit and a piece of the action. But Petlet remains undecided.

In this mainstream French comedy, a television writer creates a hit series based on the experiences of her housekeeper. The writer Nathalie does this in desperation as she has a deadline and is utterly blocked. She goes to Petlet and begins transcribing her memories of the lively goings on in her rural home village. Each memory is an episode in itself, and the show becomes a smash hit, but when Petlet realizes that her boss has been cashing on her life stories and taking all the credit, she gets angry and quits leaving Nathalie with no maid and no one to watch her children. Later Petlet's adult children demand that their mother return to demand credit and a piece of the action. But Petlet remains undecided.

In this melodrama, a woman whose husband has begun seeing a wholly unsuitable woman runs away and attempts to support her son and herself by doing construction work. Many years later, after the death of his mother, the boy makes his father's acquaintance once again.

In this melodrama, a woman whose husband has begun seeing a wholly unsuitable woman runs away and attempts to support her son and herself by doing construction work. Many years later, after the death of his mother, the boy makes his father's acquaintance once again.

The unique distinction of this standard comedy drama is that it is the first foreign, feature-length movie filmed in mainland China. Novice director Camille de Casabianca obtained permission from the authorities and set up her story around Valerie (Christine Citti), a woman who follows Yves (Yves Renier), the man she loves, to China. Yves is a journalist assigned to report on Western tourists behind the Bamboo Curtain, and it is an unintentionally comical group of tourists at that.

A través de la figura de la monja francesa Teresa Martin (1873-1897), se plantea la posibilidad de la santidad en la vida cotidiana, sin necesidad de fenómenos sobrenaturales. Teresa Martin ingresó en la orden de las carmelitas de Lisieux, donde tomó el nombre de Teresa del Niño Jesús. Murió a los veinticuatro años de edad. Fue canonizada en 1925.

Un grupo de cuatro jóvenes profesores de instituto parecen convertirse en el centro de la crítica para el resto de sus compañeros, ya que para combatir la rutina del día a día, ellos parecen traer al instituto nuevas y refrescantes ideas, con divertidos juegos que en ocasiones les hacen parecer a ellos más infantiles que sus alumnos.

François, violoncelista, e Isabelle, historiadora del arte, se conocen en una oficina de desempleo, donde surge una agria discusión entre Isabelle y uno de los empleados. François sale en su defensa y, así, nace entre ellos una relación amorosa. Juntos tratan de conseguir algún dinero como músicos callejeros, pero no tienen éxito. Entonces a Isabelle se le ocurre la idea de robar a los tres dependientes de la oficina de desempleo, pero durante el atraco muere uno de ellos.

Un hombre divorciado y con una hija espera la habitual visita de su madre, pero inexplicablemente no llega en el tren de siempre.

Un hombre divorciado y con una hija espera la habitual visita de su madre, pero inexplicablemente no llega en el tren de siempre.

Bob Rafelson: Self-portrait

En este drama que alude a la guerra de Argelia con Francia en la década de los 60, Thomas (Alain Delon) es un desertor de la Legión Extranjera francesa, que está huyendo de las autoridades.