Julien Verdier

A journalist’s six-minute interview with 25 years old former Nigerian sex worker Marta, is conveyed to the audience without any interruption. The suffering that Marta left behind and the wounds present in her soul are being reopened for the young woman during the interview. This life story that fits in six minutes drags the audience into the traces of the young woman’s past life.

A journalist’s six-minute interview with 25 years old former Nigerian sex worker Marta, is conveyed to the audience without any interruption. The suffering that Marta left behind and the wounds present in her soul are being reopened for the young woman during the interview. This life story that fits in six minutes drags the audience into the traces of the young woman’s past life.

A journalist’s six-minute interview with 25 years old former Nigerian sex worker Marta, is conveyed to the audience without any interruption. The suffering that Marta left behind and the wounds present in her soul are being reopened for the young woman during the interview. This life story that fits in six minutes drags the audience into the traces of the young woman’s past life.

A journalist’s six-minute interview with 25 years old former Nigerian sex worker Marta, is conveyed to the audience without any interruption. The suffering that Marta left behind and the wounds present in her soul are being reopened for the young woman during the interview. This life story that fits in six minutes drags the audience into the traces of the young woman’s past life.

A journalist’s six-minute interview with 25 years old former Nigerian sex worker Marta, is conveyed to the audience without any interruption. The suffering that Marta left behind and the wounds present in her soul are being reopened for the young woman during the interview. This life story that fits in six minutes drags the audience into the traces of the young woman’s past life.

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.

An old man, former clown, comes back in the neighborhood where he used to lived for the funeral of his ex-wife, and finds old friends with whom he had lost contact.

1957. For several months, Henri Charlègue, the ex-director of the newspaper "Alger democratic", banned, has been living in hiding. Suspected of belonging to the FLN, he is actively sought by paratroopers.

A young miller takes under her protection an orphan brought up by an old woman.

Cellist Gaspard is living in a big house in the country with his son and three nieces. He likes being quiet. One day, his modest car bumps into a Rolls-Royce, driven by Felicia, a young, beautiful, wealthy and temperamental woman. And she knows it. She is very angry at him because he seems not to be under her charm. She decides to seduce him, but Gaspard did not feel like letting his life being invaded by such a woman.

Over the course of one night, a gang of twelve criminals carry out a commando-like raid on a small town.

This telefilm in black and white is diffused on the first French chain the November 6th 1965. It undoubtedly remains the most known adaptation of the Dom Juan of Molière.

In June 1940, during the Dunkirk evacuation of Allied troops to England, French sergeant Julien Maillat and his men debate whether to evacuate to Britain or stay and fight the German troops that are closing-in from all directions.

The story of the couple from the very first meeting to break up told from a view of a woman, Francoise. The film shares the same plot with "Jean-Marc ou La vie conjugale", that tells the same story from another perspective.

The story of the couple from the very first meeting to break up told from a view of a man, Jean-Marc. The film shares the same plot with "Françoise ou La vie conjugale", that tells the same story from another perspective.

In the seaside town of Boulogne, no one seems to be able to cope with their past, least of all Hélène, an antique furniture saleswoman, her stepson Bernard, and her former lover Alphonse.

On a Christmas night, an ex-convict meets a beautiful Italian married woman who has got a lot of things to hide.

Danielle Darrieux stars in this French thriller as a singer having an affair with her accompanist. When her husband dies in an automobile accident, the two lovers suspect each other of having murdered him. Soon after, they receive 45 rpm records with the dead man’s voice, threatening to come back.

In 1852, the famine on a desolate Britanny's island named Blaz-Mor, off the coast of Finistère. Some residents exalted hold responsible the young Moira (Renée Cosima), equivalent to a witch. The old Marnez (Charles Vanel), "head" of the island, is trying to restore calm and opposes Yann Le Heart (Henri Vidal), the fiancé of his daughter Louise Kermelen (Dany Carrel), who wants causing a shipwreck to save the island from famine.

A Dutch slave captain, on a voyage to Cuba, faces a revolt fomented by a newly captured African slave, Tamango. The slaves capture the captain's mistress, forcing a showdown.

24 hours in the life of a humble general practitioner. A very busy life to say the least... Like every other day, Dr. Forget works from morning till dusk (and even later). He sees patients in his consulting room or visits them either on house calls or at the hospital. But is today just another day? Not quite since on this very day, Junior, Dr. Forget's son, will know if he has passed or not his exam at the faculty of medicine.

The title of this French "reality" drama, which translates to Before the Deluge, is a play on Louis XVI's famous prognostication, "Apres moi, le deluge." Set in 1950, the film concentrates on five Parisian adolescents. Certain that the next war will herald the apocalypse, the youngster make plans to run off to a desert island and set up a new society. This, however, will require money, which is why the boys decide to pull off a "necessary" robbery. Idealism collapses in the face of cold reality, as the five youths suffer from the consequences of their actions. Avant le Deluge was one of a group of films cowritten by director Andre Cayatte and Charles Spaak which endeavored to explore the touchy social issues of the day: others in the Cayatte-Spaak canon include the euthanasia-themed Justice est Faite and the capital-punishment tract Nous sommes tous des assassins.

While celebrating his birthday, police inspector Basquier (Bernard Blier) recalls two of his most-celebrated cases. The first involves duplicitous moneylender Olga (Suzy Prin). The second concerns the brutal broad-daylight murder of innocent young Yvonne (Veronique Deschamps).

Young conductor Roberto Lombardini has never known his father who is actually a former musician, a failed piano player who has sunk into alcoholism.

Ireland, 1922. In the midst of a national uprising, Catherine, a young orphan employed in household chores, goes in search of her brother whom she has heard in a dream calling for help.

The short stories of Guy de Maupassant enjoyed a renaissance in the early 1950s, thanks in great part to the Max Ophuls production Le Plaisir. In Trois Femmes, three De Maupassant stories are dramatized, each conveying the central theme of women falling in love. In the first, a black female carnival entertainer causes an uproar when she falls in love with a white soldier. In the second, a young bride is pressured into having a baby to collect a huge inheritance. And in the final episode, a pregnant girl is "adopted" and protected by a small circle of friends. In standard De Maupassant fashion, each of the three stories in Trois Femmes is capped by a surprise twist.

Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.

Socially conscious and realistic treatment of hard working coal miners in the north of France, and a struggle between a younger and older engineer.