Claude Giraud

Stephane, the wife of an older, prominent magistrate, coldbloodedly shoots a male visitor in her upscale home, then claims she was defending herself against a rapist. Victim turns out to be Wadek Aslanian, a gangster who's viewed as a modern-day Robin Hood. Paul, the lawyer hired by Stephane's husband, learns more than he really cares to know about his client, thanks to a series of anonymous letters. The notes provide a road map through the sordid areas of Stephane's past, allowing Paul to discover her history as an ex-prostitute, a porno movie performer -- and a frequent cohort of Aslanian. Naturally, Stephane's husband knows nothing about her past. Just as naturally , nothing that Paul discovers keeps him from falling in love with this mysterious woman.

Benjamin lives with his widowed father, a designer and a bohemian artist. Olivia, his best friend, lives with his divorced mother, a lawyer who lives only for his work. Children decide to organize a meeting between the two parents, but unfortunately, neither seems interested in the other. Still, the two friends did not give up and seek new ways for the emergence of love between their parents.

In the 18th century, the peasants of the forest of Rennes were oppressed by the Regent in the name of taxation. Their lord, the Marquis de Trémi, goes to Paris to denounce these abuses.

Commandant Gardefort, horseman at the Cadre Noir Riding Academy in Saumur, having given up hope of promotion decides to retire. To fill his time until then, he buys a mare, Milady, and in two years trains her to the highest dressage haute ecole standards. But he finds himself in dire financial straits over his divorce, and is obliged to sell the mare. She is bought by a rich Belgian banker, who transforms Milady into a circus horse. Visiting him, Gardefort resolves the situation in the only way he sees fit.

Directed by Souheil Ben-Barka.

In this riot of frantic disguises and mistaken identities, Victor Pivert, a blustering, bigoted French factory owner, finds himself taken hostage by Slimane, an Arab rebel leader. The two dress up as rabbis as they try to elude not only assasins from Slimane's country, but also the police, who think Pivert is a murderer. Pivert ends up posing as Rabbi Jacob, a beloved figure who's returned to France for his first visit after 30 years in the United States. Adding to the confusion are Pivert's dentist-wife, who thinks her husband is leaving her for another woman, their daughter, who's about to get married, and a Parisian neighborhood filled with people eager to celebrate the return of Rabbi Jacob.

French television adaptation of Moliere's play.

In the absence of her royal husband Theseus, thought to be dead, Phaedra declares her love to Hippolyte, Theseus's son from a previous marriage.

Soon after her latest husband death, the King himself (Louis XIV) meets with our heroine and begs her to help convince the Persian Ambassador to agree to a treaty. However, what they didn't realize was that the handsome Persian was in fact a sexual sadist. So, it is up to the King's half- brother, some Hungarian prince, to save Angélique from the evil troll's clutches.

Angelique is saved by the king of the cutthroats when she is endangered in the streets of Paris. After her hero is killed, she has many amorous affairs and becomes a successful businesswoman.

In 17th-century France, beautiful country maiden Angélique marries wealthy neighbor Jeoffray de Peyrac out of convenience, but eventually, she falls in love with him. So when Jeoffray is arrested and then vanishes, she bravely sets out to find him. This is the first of many dramas based on Anne and Serge Golon's novels about strong-willed Angélique and her adventures during the reign of Louis XIV, the Sun King.

In a chain reaction of romantic adventures, various people play musical beds in a remake of Max Ophul's "La Ronde."

A policeman and a serial killer play cat and mouse in an isolated mountain village in Nineteenth century France. The second film directed by the man who played the admirable lead role in Robert Bresson's A Man Escaped is a stylized and intense adaptation of a novel by Jean Giono. This police investigation in a 19th century village combines visual beauty with the rigor of the mise-en-scène—the vertigo of the criminal motivations indivisible from the refined graphics of the images.