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1981. Hubert Bonisseur de la Bath, aka OSS 117, is back. For this new mission - more delicate, more dangerous and more torrid than ever - he is forced to team up with a young new colleague, the promising OSS 1001.
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Amin has come from Senegal to work in France, leaving behind his wife Aïcha, and their three children. He leads a solitary life in France, where the only space he occupies is his home and the building sites on which he works. Most of his earnings are sent to Senegal. One day, he meets a woman, Gabrielle, and a relationship is born.
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Revolves around Castro, who was once a very famous TV host, but as he grows old, his popularity is dwindling.
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FIFA의 110년 역사를 다룬 프랑스 영화.
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Jean, a forty-year-old struggling, out-of-work actor has hit rock bottom. Although open to any kind of work, he can't get a break. At the unemployment office, his counselor has a rather odd proposal: he can get a job helping the police reconstruct crime scenes, by standing in for the dead victim. Jean's obsession for detail impresses the detectives, allowing him to take a leading role in a sensitive investigation in Megève ski resort, during low season, after a series of murders
Costume Design
Once upon a time in 2012, three brothers lived happily. One day their mom fell into a coma. So Henri, Philippe, and Louis suddenly started wondering about the meaning of their lives and were swamped by a wave of existential doubts. An entirely new situation for this bourgeois trio in their forties, one which opened a door to the novel and indeed the forbidden... and to the big bad wolf!
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타이핑이 최고 인기 스포츠인 1958년. 시골에서 막 상경한 로즈는 보험사 사장인 루이의 비서가 되지만 엉망진창인 업무 실력을 선보이며 일주일 만에 짤릴 위기에 처한다. 하지만 로즈가 회심의 광속 독수리타법 타이핑 실력을 공개하자 스포츠광인 루이는 그녀에게 타이핑 대회에 나갈 것을 권유하고, 이들은 타이핑 챔피언을 향한 달콤하면서도 불꽃 튀는 트레이닝을 시작한다. 엄격한 훈련을 위해 루이의 집에서 합숙을 하면서 나날이 빨라지는 로즈의 타이핑 속도만큼이나 그 둘은 서로에게 끌리기 시작하는데... 스포츠에만 관심 있는 차가운 루이와 엉뚱하고 발랄한 타이핑 천재 로즈의 속도감 넘치는 로맨스!
Costume Design
Ombline, a 20-year-old woman, is sent to prison for three years after committing a violent assault on a police officer. Just when she has lost all hope for the future, she discovers that she is pregnant. The law allows her to rear her newborn for the first 18 months of its life, after which time the child must be given up and placed into state care. Ombline has no intention of surrendering her beloved little boy and is prepared to do anything to convince the authorities that she is capable of rearing the child after she has left prison. As her maternal instincts assert themselves, the young woman finds she has a cause worth fighting for, and an opportunity to rebuild her shattered life…
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프랑스가 자랑하는 최강의 스파이, OSS 117. 1967년, 그는 남아메리카로 도망친 고위 나치 장교를 찾으러 브라질 리우 데 자네이루로 떠난다. 브라질 전역을 누비는 OSS 117과 그를 따르는 매력적인 여인. 연달아 이어지는 웃음과 활극. 매력적인 두 남녀의 모험과 사랑이야기로 가득 찬 프랑스판 007!
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장 브루스가 쓴 1949년 스파이 소설을 원작으로 한 작품. 은왕관을 탐내는 악당으로부터 왕관을 지키기 위해 프랑스 대통령이 고용한 OSS 117이라는 불리우는 휴베르트 보니세르가 겪게 되는 해프닝을 다룬 영화
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The true story of the rise to power and brutal assassination of the formerly vilified and later redeemed leader of the independent Congo, Patrice Lumumba. Using newly discovered historical evidence, Haitian-born and later Congo-raised writer and director Raoul Peck renders an emotional and tautly woven account of the mail clerk and beer salesman with a flair for oratory and an uncompromising belief in the capacity of his homeland to build a prosperous nation independent of its former Belgian overlords. Lumumba emerges here as the heroic sacrificial lamb dubiously portrayed by the international media and led to slaughter by commercial and political interests in Belgium, the United States, the international community, and Lumumba's own administration; a true story of political intrigue and murder where political entities, captains of commerce, and the military dovetail in their quest for economic and political hegemony.
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The idea for this film about a generation and its lost ideals came to Romain Goupil after attending several funerals of friends in the fall of 1996, where the '68 generation, now in influential positions in media or politics, kept meeting each other. It seemed as if the revolution that they had tried to make was being buried with each coffin. A MORT LA MORT is in some ways an homage to this generation, now in their fifties. They were a privileged generation that thought that they could change the world, doing everything that their parents failed to do. There were no actual deaths in France as there were in Germany or Italy, but the system was not ideal for personal issues or for love. There was always a scapegoat for the injustices of the world, be it capitalism or imperialism. That way the blame could be placed somewhere else. Some of the '68 generation are still faithful to the principles of their youth and still continue to fight for the illusions of the past.
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Châtelaine Marie-Agnès de Bayonnette lives in her family home with her cousin Solange. The lives of the two old ladies are governed by the traditional codes of aristocracy. When Marie-Agnès died, the heirs from Russia had to fight over the estate with a Japanese company that wanted to buy the property.
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A death in the family. Patrick dies and his three sisters gather at their parents' home in Normandy. Anne, the oldest, is steady, married with two children, showing little emotion. Isabelle, who's cut herself off from her family for eight years, returns from Paris. Claude, Patrick's twin and still a student, grieves for her other half. Along with their parents, each must face family grievances first before they can grieve together for Patrick. Then comes the revelation of how he died, and new feelings come to the fore. Can a death help a family to heal, coax an aging mother back to sanity, bring a couple into each other's arms, and enable two sisters to grow?
Costume Design
Events in an idyllic African village are shown in detail in the period just before logging trucks come in and cut down the forest around the villagers, forcing them to move into the wretched shantytowns that surround major cities throughout the undeveloped world. Despite the familiar premise, this surprisingly unsentimental film by Georgian director Otar Ioselliani has several things going for it, beginning with the cinematography and including the natural and unaffected (non-professional) performances of the villagers.
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On the day Jean Gabin dies, a kidnaper who also takes a fortune in jewels heisted from Cartiers murders Simon Verini's wife. (Simon was fencing the jewels for a youthful gang who robbed Cartiers; he suspects them of the murder.) He's framed for the theft and spends ten years in prison, writing to his daughter, Marie-Sophie, who's 11 when he's sent away. Released, he reconnects to Marie-Sophie and to the young thieves, seeks revenge, and is quickly arrested again. She doesn't know what to make of her father, retreats to her Swiss fiancé, and is flummoxed when one of the young thieves falls for her. Is resolution possible when crime cuts across families and romance?
