Avec Amour

A staging of Marivaux's play "Arlequin poli par l'amour" by Thomas Jolly.

L'Amour avec un Grand A is a French-Canadian television series which aired from 1988 to 1995. The series explores different complex sexual and taboo issues. Some notable subjects include: Rape, Teen Obsession, Age Difference in love, Homosexuality and Married, Schizophrenia, Spousal Abuse. The series lasted 7 years and was very popular in Quebec. It was written by Janette Bertrand.

A building, a landing, two tenants: he, Jacques Loursier, is president of the U.R.A.F (Union and Resistance Anti-Woman); she, Eliane Cahuzac, is president of the Association for the Triumph and Independence of Women. Unaware of each other until then, a cold war begins between the two parties. An attempt at conciliation fails then, after many adventures, love triumphs.

Dorothée and Nicolas fall in love at first sight. Together, they’re going to live a very beautiful love story... they know it. But life always finds a way to compromise the best resolutions, the best script, and nothing will happen as expected. Nicolas and Dorothée will be carried into a stormy comedy as crazy as their passion for each other…

Ai Shite Knight is a shōjo manga created in the early 1980s by Kaoru Tada. An anime version of the story in 42 episodes was also produced in 1983-1984 by Toei Animation, and features episodes supervised by Shingo Araki.

On a wasteland, in the bustle of the end of a circus tour, two children play while a world crumbles around them. In this unstable world, Estrella discovers solitude. For her, as for the others, life is elsewhere.

Two rich tourists, a photographer and a painter, meet during a walk in Kabylia. Their wanderings are an opportunity to highlight the many tourist and picturesque places on the Algerian coast. This film commissioned by the Defense Communication and Audiovisual Production Establishment (ECPAD), attempts to sell a tourist destination when Algeria was in flames with the outbreak of the Algerian national liberation war. Filmed with the colonial lens of the time, the natives are only one element of a picturesque setting, and the final kiss between a French woman and an Arab man is an attempt to demonstrate a pacified country. Despite everything, the film constitutes a precious archive for Béjaïa, which is the subject for the first time of a film which immortalizes a moment in its history, and to introduce the work of Tahar Hannache, actor, cinematographer and director, one of the pioneers of Algerian cinema.

A love story between two women during the first lockdown because of corona in Vienna. They only talk with their phones to each other. Then their daughter Anna gets into trouble. But at least it seems so, that it could be a happy end.

In a routine sex farce, Gautier (Jean-Claude Dauphin) is a man determined to figure out how to give a woman an orgasm -- which of course requires a lot of practice and experimentation. His buddy Roussel (Jean-Luc Bideau) also chases after women but does not share Gautier's unique quest. Rose (Nathalie Nell) finds Gautier entrancing and devises a way to capture his heart while helping him on his search for the ultimate turn-on.

Two young survivors of a wagon-train massacre battle horse thieves as they take a prize stallion through Utah.

Lurdes is a mother of five who tirelessly seeks for Domenico, a child of hers who was sold by his own father 26 years ago; Thelma is an overprotective mother who finds out she has a terminal illness, and must race against time to make her dreams come true and prepare her son for a life without her presence; Vitória is a successful lawyer who sees the end of her marriage after countless failed attempts to have a baby and decides for adoption, but finds out she is pregnant during the process. In "A Mother's Love", the lives of these women are intertwined while they recognize themselves in the unconditional love provided by motherhood.

L'Opéra National de Paris' production of L'Amour des Trois Oranges must certainly be one of the most elaborate operatic presentations. It has a cast of gazillions, characters who fly, jugglers, fire-eaters, remarkably elaborate costumes, amazingly realistic props (those five-foot oranges are convincingly juicy and edible looking), a huge set, fireworks, and so on. In fact, at times, it looks more like a Cirque de Soleil show than something you'd see in an opera house. Director Gilbert Deflo's conception and William Orlandi's costumes and sets are rooted in commedia dell'arte, but the production is thoroughly eclectic, with allusions to a wonderfully weird assortment of styles and periods.