Nicholas Zourabichvili

Algumas semelhanças são perturbadoras. Como aquelas entre um visconde guilhotinado, um capelão do exército, um vagabundo parisiense e o porteiro do edifício onde se cruzam quase todos esses personagens. E, no entanto, no meio de todo o caos, ainda existe a chance de esperança por um amanhã melhor.

When he loses his position as a powerful government minister, Vincent is dropped by his pretty mistress and must begin life anew, without the privileges of power. As he gradually becomes acquainted with milieus which he d either forgotten or never known and a host of sometimes eccentric, often remarkable everyday people, Vincent really begins to start living again.

Nicholas is the eldest son of a wealthy suburban family, whose businesswoman mother makes deals from a helicopter and has an affair with her business partner. His cheerful, alcoholic father, on the other hand, is reduced to a prisoner in his room with his devoted dog and electric train set. Unbeknownst to his parents, Nicholas works as a window cleaner and dish washer in a Parisian cafe. He is also in love with the daughter of another cafe's owner, who, however, has an abusive boyfriend. One night, Nicholas sneaks a few drunken drifters into his family wine cellar and his father unexpectedly takes a liking to the stranger.

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.

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.

It is a brief documentary which records the life of five Augustinian monks in the little monastery of Castelnuovo dell'Abate, a Tuscan village, as well as the everyday life of people in the small town, from farmers to meat-hackers, from wine-makers to wild boar hunters.

Esta comédia absurda, com seu extenso grupo de vigaristas, ladrões, anarquistas, prostitutas, inspetores-chefes, negociantes de arte e inventores, lembra as vibrantes tapeçarias de Robert Altman. A história gira em torno de dois objetos, um conjunto raro de porcelana de Limoges, do século XVIII, e um retrato aristocrático do século XIX. Quando esses itens são passados, vendidos ou roubados de um personagem para outro, uma vertiginosa dança em volta do excesso começa a tomar forma, o que sugere que, se a história não se repetir, certamente rima. Juntamente com o co-escritor Gérard Brach, cujos outros créditos de co-escrita incluem Repulsão e Tess, Otar Iosseliani usa um leve toque para expor a futilidade da classe e ordem social, transformando em insignificantes as preocupações dos ricos e pobres. Premiada com o Prémio Especial do Júri no 41.º Festival Internacional de Cinema de Veneza.