Film Le Vi, Streaming avec sous-titres en Français, le vi || Regardez tout le film sans limitation, diffusez en streaming en qualité.
Panorama of the Quai de la Seine and the pavilions of the exhibition.
Names without bodies On October 3rd 2013 many young people with names such as Selam (peace) or Tesfaye (my hope) left us all at the same time. Naming our children is a way of telling the world about our hopes, our dreams, our beliefs, or about the people and things we respect. We choose meaningful names for our children, just as our parents did for us. For years these names, and their load of flesh and blood, have left their birthplaces, going far from home, composing something like a written message, a message which has reached the threshold of the Western world. These names have defied manmade boundaries and laws, have disturbed and challenged African and European governments.
They have a job that suits them, enjoy their colleagues and take time to enjoy the simple things around them. They wake up every morning next to their loved one. Yet they no longer enjoy anything, constantly being pushed around by a society that demands more and more of them, and burdened by problems that are beyond them.
Several years after "Mood Indigo," his adaptation of Boris Vian's 1947 novel "Froth on a Daydream," Michel Gondry returns, with his characteristic originality and uniqueness, to further explore his overwhelming experience with Vian's work. Gondry narrates this short autobiographical animation as an homage to his beloved novelist and trumpeter.
A “Cinéastes de notre temps” series episode directed by french film critic André S. Labarthe, originally aired 4 October 1966.
Pros and cons of private life going public
First grief of love, Billie is devastated. The jokes of her girlfriends, the advice of her teachers and the sweet words of her mother intertwine and resonate like old chatter. Nothing to do, Billie is inconsolable.
At the end of his life, gravely ill, François Truffaut took refuge with his ex-wife Madeleine Morgenstern. She tried to keep him occupied during his long agony. The filmmaker confided in his friend Claude de Givray, with the intention of writing his autobiography. Too weakened, he abandoned the project. The film reveals part of this final story.
A hit man fails his contracts because of a young runner.
The bicycle was still a novelty at the beginning of the 20th century. At the Villa Belle Rive in Cannes, the Lavanchy-Clarke family engage with it cyclically, with gaps in the film in order to convey a sense of the laps.
