Film Lamou

Old Hymen meets Sleeping Love. He takes advantage of his sleep to steal his quiver. Very proud of his larceny and relying on this possession to regain his vigorous youth, he calls his wife. She does not allow herself to be caught up in her speeches knowing what to expect.

Created by the young but obviously ambitious French production company Lux Film, founded just two years before by pioneer Henri Joly. The film was released in the United States with the title Love and Fortune, in a version which sought to mellow the character of the male protagonist, at least judging by the synopses in the period press: the American Ascanio was always in love with Graziella, and he only lets himself think of wealth in his dreams.

Catilina, the son of a former career soldier, now the owner of a supermarket, decides to pretend he's the boss to win over Marcus, a young employee who has just started working there. But Marcus's apparent naivety will reveal a manipulative ambition that will humiliate Catilina and push him to parricide to save his honor in the eyes of the supermarket staff.

Monsieur Renoir the matchmaker tries to match Hector the garbage collector with the Princess.

A man has pre-wedding jitters on the eve before his marriage. His thoughts switch between sweet dreams and nightmares of a life with another woman.

The story of two artists in love with the same woman.

Innovative sixties softcore. Lenore and Suzanne are swinging 60s chicks who share a swank apartment and a Lincoln Continental financed by their rich, bankrolling daddies.

1976-1989, 24 min

A documentary about the life and career of Maurice Pialat produced by his widow, the accomplished film producer Sylvie Pialat. The film interweaves clips from his films with interview footage of Pialat, who speaks of growing up as an only child, his interest in painting, his early influences in cinema from Yasujiro Ozu to John Ford, his disaffection with the French New Wave, and the theme of abandonment in his films. Pialat’s remarks offer insights into his aesthetic strategies and hint at his reputation as a challenging, irascible director, known for having pushed his actors to deliver raw and powerful performances.

For a long time now, we have been seeing outrageous attempts at tackling the 'woman problem' (and the 'man problem') by pretentious and old-fashioned 'professors' or 'revolu-tionaries,' related to the Nazis or Stalinists, who have just as outrage-ously exalted the proletariat, race or nationality, leading to racist and imperialist crimes. Such excessive behavior can only lead to the exploita-tion and destruction of the very gender concerned. In any case, the basic components of simple love and simple friendship (and a fortiori of Super-Love and Super-Friendship), that we have explored in depth (as evoked in my film, What is Love?), are still so poorly understood today by our contemporaries that even those who claim to be happily experiencing these run the risk of being quickly proven wrong by Life itself."

Intimate portrait of four 70-year-old Quebec snowbirds who migrate every winter to Florida in search of sun, warmth and companionship. Behind their quest for love lies a desire to take advantage of this second and ultimate youth that comes with retirement.

Robert Lepage’s dreamlike production, with its thousands of twinkling LED lights stretching across the stage to represent the sea, encapsulates the mystic feeling of L’Amour de Loin, Saariaho’s haunting opera of distant love. Eric Owens is Jaufré Rudel, a troubadour in 12th century France who has become tired of his hedonistic life and longs for an idealized love. Enter the Pilgrim (Tamara Mumford) who tells him his perfect love does, in fact, exist, far across the sea. She is Clémence, Countess of Tripoli (Susanna Phillips). The magic of the characters’ inner lives as they explore the meaning of love, longing, life, and death is heightened by Saariaho’s hypnotic and bewitching score, conducted by Susanna Mälkki.

A curious meditation on the pleasures and terrors of s/m, in which interviews with enthusiasts collide with choice porn clips, Fleisher cartoons, Hans Bellmer poupees and a couple of sphincter-tightening routines. The results are compelling, this film lingers, never once slipping into hype or deadly cool.’ – Manohla Dargis, Reel To Reel, Village Voice, 1992.

How to film a word? How to hear a photograph? How to tell a lifetime of love in just 26 words? In searching out the sense of beauty, the border between the real world and that of reverie, fascinated by the dreamlike universe of the French photographer Guillaume Poussou -and who knows- maybe also by the photographer himself, Anahit Simonian takes up her camera for the very first time and begins to dance with her eyes closed. So is born “L'Abcdaire de l'amoureuse d'un photographe”, her first film.

In a dehumanized world, where emotions are rationed and measures, Pipo, a factory worker, falls in love with a woman sitting on a bench. He’ll try anything to get her attention and seduce her.