Film Les Co

What are these two strange things above my nose I'm supposed to see with? They can't be my eyes. No! They'd never have let me see such a thing. And yet there's no denying it : I clearly see a knife in the fork compartment. A knife among the forks!

Three events that seemingly nothing related, namely the murder of a truck driver, the discovery of the corpse of a vitriolic young woman, and the death of another who was crushed, will launch the Inspector Maréchal on the trail of a prostitution network. The girl-mother Olga, a friend of the trucker, confesses her the underwear of the women's exploitation.

A bananaplant and a botanist meet in a glasshouse somewhere in Brussels. A pretty normal situation, if the banana plant didn't start talking. What follows is a strange encounter. A modern tale with deep roots in our history.

After seeing a grainy video of what is supposed to be an apparition of the Virgin Mary, Abdel Messeh sets out to make a documentary about belief, family and religion, much to the disapproval of his mother.

A TV documentary that recounts the many "battles" Coco Chanel overcame to become the great businesswoman and legend she is considered today.

Measuring up well to their older American counterparts –- Scorcese, Coppola, De Palma or Friedkin –- the new Korean auteurs likewise seek to integrate the political turbulence of their land, particulaly the trauma of the recent disctatrial regime, into their work. The directors Park Chan-wook (Oldboy), Kim Jee-won (A Bittersweet Life), Bong Joon –ho (Memories of Murder), Ryoo Seung-wan (Crying Fist) and Kim Ki-duk (The Isle) subvert the codes of genre cinema, just as their American predecessors did in the 1970s. In violently evoking the atmosphere of political and cultural decay in a wounded, divided Korea, these young filmmakers experiment with new cinematographic and narrative forms which have begun to take the world by storm.

To make a film about a poet, it is necessary to move away from all cinematographic purpose, all technical language, all aestheticizing intention; we should just think like him, in terms of image and animism, of arrow and spell. The film in question will then be a tree and every facet of his work a branch, the trunk his life. Thus this incipient metaphor will evolve in the form of the film, the body of the image is henceforth encircled by the cortex of sound, whose independent relief segregates its own layers of meaning, the cavities through which the silence of an army of ants searches for its center.

A stripper takes an old lover back to her apartment and tells him the sordid history of her own bed.

A propaganda film using footage from German and American movies ,newsreel material of the Riveria ,and staged scenes,to blame Jews for juvenile delinquency and financial scandals during the period between the world wars.

Directed by Jean Rouch.

Following a first position on the podium, racing driver Jean-Philippe Bergeron and his team Prolon attempt to win the last race of the season.

As soon as they arrive at the barracks, the new contingent reveals some characters who will give their officers a hard time. There is the handsome, resourceful man, the technocrat in love, the bootlicker, the "Jamaican" who only moves to music, the shortsighted man... and all the others. Sometimes to see the nurse undress, sometimes to arrange an appointment with a fiancée, sometimes to cuckold the obtuse non-commissioned officer whose wife is volcanic, sometimes to have a free lunch in a great restaurant, the handsome man invariably deploys a wealth of cunning. And each time it is the colonel's servile driver who gets caught instead of him.

Coach W. Hickenbotham takes "Newhaven" out of his box and places the horse at the center of the paddock. Gardiner, the jockey, saddles up the horse, rides it and begins to spin, slowly.