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C'est La Vie, Mon Chéri or New Endless Love is a series starring Fiona Sit and Aloys Chen based on an adaptation of the 1994 Hong Kong movie, also known as C'est la vie, mon chéri. Both the movie and the series are directed by Derek Yee.
Max is a battle-weary veteran of the wedding-planning racket. His latest — and last — gig is a hell of a fête, involving stuffy period costumes for the caterers, a vain, hyper- sensitive singer who thinks he's a Gallic James Brown, and a morose, micromanaging groom determined to make Max's night as miserable as possible. But what makes the affair too bitter to endure is that Max's colleague and ostensible girlfriend, Joisette, seems to have written him off, coolly going about her professional duties while openly flirting with a much younger server. It's going to be a very long night… especially once the groom's aerial serenade gets underway.
A story is about young teenage girl, with sister and brothers, a pleasant uncle and aunt, an annoying nanny, a young boy interested in kissing her, a close relationship with the imaginary addressee of her daily diary and her parents' disintegrating marriage - all this in a rented house in a summer resort.
They’re dirty, vulgar, dishonest, grouchy, uncultured. They’re also a big, happy family. The Bougon are a joyous bunch of scoundrels who live on the margins of society, doing whatever it takes to scam their way through life, thinking up new schemes for avoiding work, and never conforming to the system.
Acrobats, clowns, contortionists, hypnotists, magicians, musicians, tightrope walkers, jugglers and others world-class artists perform their greatest routines in front of a live TV audience.
Unable to make it as a commercial success because he staunchly refuses to sell out, a struggling Hong Kong musician rediscovers his love of music and regains an interest in his life's meaning through his relationship with a dying girl.
Five women are about to give birth. They do not know each other, are not alike, but will find themselves in the same maternity to live the best day of their lives. The first contractions at birth, the film traces their journey, between laughter and tears.
Two babies are switched at birth. When the mistake is discovered 12 years later, it leads to complications in the lives of both families. One family is affluent, with dutiful and (apparently) contented children. The other family is poor, with rambunctious (even delinquent) children, often hungry, but with lots of laughter in the house.
In this whimsical fable, Resnais deftly interweaves three story lines: the creation of an early-20th-century utopia; romantic high jinks at a school conference; and a fantasy sparked by F/X pioneer Georges Méliès.
C’est ça, la vie was a German educational television series produced by Bayerischer Rundfunk, teaching French as a foreign or second language to German viewers. An extension of the instruction presented earlier in the Bon Courage series, this series was divided into two parts of 13 episodes each, focusing on the use of the French language in business.
In a series of clinical tableaux comprising a sort of apocalyptic travelogue of the LA streets, an aggressive homeless man berates the viewer regarding the circumstances of his life and the wrongness of everything.
Dimitri joins La Maison, a place where people are welcomed for whom medicine can not do anything anymore. There he meets Suzanne, a volunteer who is dedicated to supporting people at the end of their lives.
Loïc Le Tallec never really took care of his son. When the latter disappears in a road accident, Loïc is devastated. He has only one idea in mind: to find the one who lives now with the heart of his son. He falls on Hugo, a young man that this brand new heart makes totally unreasonable and uncontrollable. Their meeting promises to be explosive.
In this drama, three generations of the same family work together on a farm in rural France. Elderly Noel takes pride in having worked this land nearly all his life. His son Marc now carries most of the responsibilities of the farm (as well as the debts), and he's starting to buckle under the strain. And Marc's son Nicolas hasn't decided what to do with his life; he has little interest in farming, but he isn't sure where his real talents lie. One day, after helping his cows give birth to new calves, Marc gets word that he must destroy all his cattle to prevent the spread of Mad Cow Disease. This proves the last straw for Marc, and he commits suicide. Noel doesn't handle his son's death well and ends up in a retirement home, while Marc's wife gets a job as a cashier and Nicolas looks for work (with little success) while searching for a beautiful and mysterious woman to whom he gave a ride.
In 1906, Viscount Paul de Barfleur fell in love with Cri-Cri delagrange, a singer at the cabaret "La vie parisienne". But the young man's father separated the lovers, who then married, each on his own... Forty-seven years later, in 1953, Cri-Cri and Paul's respective granddaughter and grandson meet by chance and fall in love with each other. The girl's father disapproves of the affair and is about to put an end to it. But the old Vicomte de Barfleur, who has never been consoled by not marrying Cri-Cri, intervenes in time to save the couple's happiness.
Upon their release from prison twenty years earlier, Gérard, Ary and Philippe asked themselves if honesty was not the best racket of them all. Today, they are inseparable and scrupulously above board. But Gérard learns he is terminally ill. Their friend’s days being numbered, Ary and Philippe want to offer him one last love story… because, as Gérard likes to say : love is better than life.
