Juliet Berto

In the 70s, actress Delphine Seyrig and director Carole Roussopoulos, both militant feminists, were the pioneers of video activism in France. They documented the demonstrations of French feminists and used the new technologies to counter the poor representation of women in the public media.

Philippe Garrel’s documentary on France’s second wave of masterful filmmakers. Featuring Jean Eustache, Chantal Akerman, André Téchiné, Leos Carax, Jacques Doillon and Benoit Jacquot.

Documentary on the singer Damia.

Documentary on the singer Damia.

A very unusual love story indeed the one that unites for a while Marie, a young French woman born in Algier, whose dream is becoming a top model and Ali, an Algerian from Clichy, recently released from prison, who hopes to become ... an astronaut!

In a port city, a youth plays a computer game that determines the fate of a woman (whose interracial romance is threatened by white punks) and other residents.

A diverse group of guests gather in a small hotel in Paris to contemplate the state of their lives in this pretentious drama. Joseph Goldman (Fernando Rey) is a washed-up Hollywood actor making a living in the dinner-theater circuit. Accompanied by his wife Sarah (Carole Regnier), Goldman meets Frederique (Berangere Bonvoisin), who is hiding from her former lover. French financier Arthur (Fabrice Luchini) hopes to get into the film industry and bends the ear of a British director (Michael Medwin). The talkative film has little action, and none of the characters evoke much interest or resolve their dilemma.

Couple is a cinematic series of portrait films, which show two persons, who free to do what they wish, in a fixed camera shot of 3:20 minutes.

Every Saturday, to the great despair of his wife, Emmanuel finds his daughter Elise, fruit of a first union. A demanding and excessive father in his passions, he went to lay a loving trap for Elise.

Samar, a child of the war, finds relief from the chaos around her through Egyptian movies she watches on television. Karim, an artist in retreat from life, remains in his apartment in war-torn West Beirut, confident that he is safe in his familiar neighborhood. An unlikely bond is formed between the two as they face the devastating civil war.

The plot is set in a post apocalyptic Junkyard where people take refuge from authority and are able to practice their fantasies and fetishes without being stopped by the police. These people are led by Emanou who is a sort of Messiah, who promises music rather than salvation.

Directors Jean-Henri Roger and Juliet Berto begin this thriller with sequences on the contemporary politics of southern France and the infiltration of organised crime into real estate development there: crime bosses were torching forest tracts to make way for their development schemes in the early 1980s. In the fictionalised story, Paula Barretto is caught in this underworld because her father was involved in the drug business, her brother is in the real estate scam, and her lover is an armed thief. Although she tries to get out of her corrupt and dangerous environment, it is not an easy task when even the police officers cannot be trusted, and the underworld has informants everywhere.

Directors Jean-Henri Roger and Juliet Berto begin this thriller with sequences on the contemporary politics of southern France and the infiltration of organised crime into real estate development there: crime bosses were torching forest tracts to make way for their development schemes in the early 1980s. In the fictionalised story, Paula Barretto is caught in this underworld because her father was involved in the drug business, her brother is in the real estate scam, and her lover is an armed thief. Although she tries to get out of her corrupt and dangerous environment, it is not an easy task when even the police officers cannot be trusted, and the underworld has informants everywhere.

Directors Jean-Henri Roger and Juliet Berto begin this thriller with sequences on the contemporary politics of southern France and the infiltration of organised crime into real estate development there: crime bosses were torching forest tracts to make way for their development schemes in the early 1980s. In the fictionalised story, Paula Barretto is caught in this underworld because her father was involved in the drug business, her brother is in the real estate scam, and her lover is an armed thief. Although she tries to get out of her corrupt and dangerous environment, it is not an easy task when even the police officers cannot be trusted, and the underworld has informants everywhere.

The film was to be a documentary, but evolved during production to a fictional film. It nevertheless adheres strictly to the poems and letters exchanged by two of the most outstanding names of the Modernist Movement, Fernando Pessoa (in Lisbon) and Mário de Sá-Carneiro (in Paris). Their endless conversation was dramatically and suddenly terminated.

Venturing from Venice Beach to Watts, Varda looks at the murals of LA as backdrop to and mirror of the city’s many cultures. She casts a curious eye on graffiti and photorealism, roller disco & gang violence, evangelical Christians, Hare Krishnas, artists, angels and ordinary Angelenos.

This drama about a barmaid caught up in events beyond her control is the first film directed by Juliet Berto, and was also based on her own concept for the story. The barmaid, played by Berto, has been trying to take care of Bobby, a teenage drug pusher who is in over his head. Before she can put him back on track and get him out of the drug underworld, the young man is killed while being chased by a narcotics agent. Depressed by his death but not derailed, she finds herself trying to help out a gay user who depended on Bobby for his supply of drugs. She decides to procure some drugs for the desperate addict, and is trapped in the bathroom of a bar - with the drugs - when narcotics agents burst upon the scene. Her boyfriend rushes to help her but is killed by an agent who shoots first and thinks later. The barmaid does not face a very optimistic future as the narc arrests her - but releases a parish minister who had been helping her find a source for the drugs.

This drama about a barmaid caught up in events beyond her control is the first film directed by Juliet Berto, and was also based on her own concept for the story. The barmaid, played by Berto, has been trying to take care of Bobby, a teenage drug pusher who is in over his head. Before she can put him back on track and get him out of the drug underworld, the young man is killed while being chased by a narcotics agent. Depressed by his death but not derailed, she finds herself trying to help out a gay user who depended on Bobby for his supply of drugs. She decides to procure some drugs for the desperate addict, and is trapped in the bathroom of a bar - with the drugs - when narcotics agents burst upon the scene. Her boyfriend rushes to help her but is killed by an agent who shoots first and thinks later. The barmaid does not face a very optimistic future as the narc arrests her - but releases a parish minister who had been helping her find a source for the drugs.

The film is a series of interviews with various well-known film actresses, including Jenny Agutter, Maria Schneider, and Jane Fonda. The title, which is borrowed from a 1958 film with the same name by Marc Allegret, refers to the sense the actresses have of what is expected of them by the film industry.

The film concerns a group of disparate types who support themselves by running guns to the Arabs. On the surface, it would seem that these characters are bad guys. In fact, the guns are to be used by a resistance group who hope to continue shipping oil to the West, despite the despotic curbs imposed upon fuel shipments by their leaders.

Roberte, 40, resistant during the war, Calvinist and anticlerical, is deputy to the chamber and inspector of Censorship. She married Octave, an old Catholic aesthete, professor of canon law, whom she saves from impeachment for collaboration during the war. He submits his wife to a perverse custom: the laws of hospitality or prostitution of the wife by the husband.

Catherine (Juliet Berto) is the temporary head of the family while her husband, whom she loathes, is away fighting in the war. Her widowed sister-in-law Suzanne (Anna Prucnal) lives with her, and after awhile it becomes apparent that Catherine loathes her as well. The children in the house are all boys -- Catherine has two sons, twelve and thirteen, and Suzanne also has a twelve-year old. While the relationship between Suzanne and Catherine is coming to a head, Catherine is having an affair with an army officer, and the boys in the family are planning a musical performance for everyone. The crescendo may be barely audible at the beginning, but it builds up to a tragedy at the end.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

Happy fun times with a little crew of people driving around to backwater villages to show movies in places where the locals don't get much culture. But all good things come to an end...

Paris, France, 1942, during the Nazi occupation. Robert Klein, a successful art dealer who benefits from the misfortunes of those who are ruthlessly persecuted, discovers by chance that there is another Robert Klein, apparently a Jewish man; someone with whom he could be mistakenly identified, something dangerous in such harsh times.

The Daughter of the Moon battles the Daughter of the Sun over a magical diamond that will allow the winner to remain on Earth, specifically in modern day Paris.

The wife of an extremely jealous merchant is held hostage by a bank robber.

In the words of the director, a movie about 'the colonizers in the view of the colonized', the movie presents a series of disconnected happenings throughout Europe and Brazil emphasizing the perception of human life as trance-like experiences and thus offering a view of the human history as a connection of symbolic behavior.

In the words of the director, a movie about 'the colonizers in the view of the colonized', the movie presents a series of disconnected happenings throughout Europe and Brazil emphasizing the perception of human life as trance-like experiences and thus offering a view of the human history as a connection of symbolic behavior.

A mysteriously linked pair of young women find their daily lives pre-empted by a strange boudoir melodrama that plays itself out in a hallucinatory parallel reality.

A mysteriously linked pair of young women find their daily lives pre-empted by a strange boudoir melodrama that plays itself out in a hallucinatory parallel reality.

Paul is married, a successful engineer, and a conservative candidate in an upcoming local election. He falls in love with Adriana, a café waitress from Italy. Paul's party is very critical of foreign labour and wants to keep Switzerland to the Swiss. Where Paul falls deeper and deeper into the relationship and is ready to leave his wife, Adriana feels the social pressure growing and has to make her own decision.

A young American who is not ready for adulthood spends a final summer of freedom backpacking across Europe. He falls in love and, as the summer ends, he must decide whether to stay or return to a far less alluring future.

Little did this pretty brunette know when she applied for a babysitting job that her employer was an artist and that everything at his place differed from the outside world. What struck her the most was to find out that her boss had shrunk his wife and kept her in the fridge in order, as he said, to keep her safe from a hostile world!

When the police find Simone seated near her husband's corpse it is predictable that she is charged with the murder. Jean-Pierre Laubray is appointed counsel for the defence. He begins an inquiry into the case and he finds out that the murdered man had killed a barman in a robbery the night before. He finds out as well he was a leg-man of Cristiani's for his election campaign. He tries to contact Juliette, Cristiani's daughter, and he discovers that Bruno, Juliette's brother, also died that same night in a car accident...

An ode to liberated speech and to the power of words, "those one speaks to others, those one speaks in silence", Alain Tanner's third film is inspired by a poet and a poetic text which deeply affected him as a young director.

Out 1: Spectre begins as nothing more than scenes from Parisian life; only as time goes by do we realize that there is a plot—perhaps playful, perhaps sinister—that implicates not just the thirteen characters, but maybe everyone, everywhere. Real life may be nothing but an enormous yarn someone somewhere is spinning...

Thia and Murelli, who live from car stunt shows, make ends meet by carrying out small burglaries.

On the advice of a friend, Claude, married to the charming Isabelle and father of two, decided to transform his library, hardly flourishing, into a sex shop. This change of activity proves to be very lucrative and sharpens his desire to spice up his married life through various erotic experiences. Claude asks his wife to share with him the audacity he dreams of. Soon, the household meets a dentist and his wife and is engaged, without much success, to new discoveries. Isabelle, full of good will, tries to follow her husband ...

While two theater groups rehearse plays by Aeschylus, two solitary individuals wander the Parisian streets hustling the populace for cash.

A young couple of burglars, waiting for trial, marry in jail. Annick writes down her observations of the women's ward. When she hears that her lover must serve a twice as long prison sentence, she plans their escape.

A couple argue loudly during a news broadcast about Palestine as the man shaves.

Camille invites some soldiers to spend a Sunday in the country with her. When they arrive, they find that something is amiss.

Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.

Bernard is in love with a water spider. He wants to replace his wife Catherine with the spider because she bores him. The spider transforms into a tarantula and later in a mysterious mute girl named Nadie. He falls in love with the girl/spider and finally he has to choose between his wife or the spider.

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...

A documentary filmmaker goes to work on a project about Tunisians who have worked abroad. Many have married French women, and the couples try to adjust to France after many years in Tunisia. The man decides to forego the film in order to address the personal and social concerns of the people trying to cope in their new surroundings. This feature appeared at the 1970 Cannes Film Festival.

This somewhat talky French-language film concerns a goofy bunch of military types and involves them in encounters with a variety of late '60s radicals who spout off a bit. It is notable chiefly because it was about to be subjected to severe censorship for its political content but was saved by the incoming Culture Minister Jacques Duhamel.

Commercial director Serge Faberge is having an affair with Evelyne, the 18 year old fiancee of friend Hugh. His own pregnant wife Francoise usually does not mind his dalliances, until he actually walks out on her and their newborn baby to move in with Evelyne. The shoe is on the other foot when dashing stuntman Dado catches Evelyne's eye in Venice.

Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions.

Detruisez-vous is a ‘primitive’ film which breaks all the rules of film-making. It’s the first Zanzibar film (and predates the very naming of the movement), an attempt to make a film which defies the rules of production, the production line of commerce

A young, unscrupulous director hires an actress and uses the story she tells him of her life to write his screenplay, but fires her and entrusts the leading role to someone else.

A stripped-down account of a young man's existential reckoning. "As dust hides a mirror, lust hides the self," reads one of the film's Vedanta-sourced intertitles. And indeed, while the Pierre Clementi protagonist's inner life remains obscure, the Saint-Germain-des-Pres neighborhood that offers his temptations appears in harrowing detail.

ゴダール監督による、ショッキングで不条理な文明批判映画。都会の生活に疲れた一組の男女が、土曜日の朝、田舎へ向けて週末旅行に車で出かける。だが、途中で出会うのは、同じ目的で郊外へ出ようとする車の渋滞。やがて、彼らは集団ヒステリー状態になり、信じられない事件が連続する。セスナが墜落し、人肉を食べる者までが出る始末。この狂気の宴はいつまでも続き、彼らの週末は絶望的なものになるのだった。

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

大人たちが夏のバカンスに出て留守の家に５人の若者－－女子大生ヴェロニク、画家キリロフ、経済学者アンリ、元売春婦イヴォンヌ、俳優ギョーム－－が集い、ディスカッションを繰り広げ、それぞれ熱烈なマオイストとなる。そして、思想を行動に移そうと、反動的な文化相の暗殺を企てるが……。

1966年のパリ。政府から首都圏整備拡張計画が交付され、至る箇所に新興団地や道路が建設されていく。パリ郊外の公団住宅に住む人妻ジュリエットは、ガソリンスタンドに勤める夫の稼ぎが悪いため、昼間に売春を行っていた。幼い娘を託児所に預けてからカフェで客を待ち、今日も若い男を安ホテルに連れ込んで一仕事する。そして彼女の行きつけの美容院で働くマリアンヌも、あるアメリカ人に電話で誘われてホテルへと向かう。

A young student, alone in Paris, is engaged in strange and bloody experiences of which she is both the authorizer and the victim.