Le Jour A Vaincu La Nuit Streaming Avec Sous Titres En Français

Derek Jarman's interpretation of the aria 'Depuis le jour' from the final act of Gustave Charpentier's opera Louise (1900) features Aimée Delamain as an aging opera singer taking her final bow and recalling a love affair from her youth. As the aria goes: 'Et je tremble délicieusement au souvenir charmant du premier jour d'amour! (And I tremble deliciously at the delightful memory of the first day of love!)' – Her reveries feature Tilda Swinton and Spencer Leigh wandering around the topiaries of Swinton's family garden and at various seaside locations. The film was made for Aria (1987), the portmanteau project of producer Don Boyd who invited ten directors to create short films set to operatic arias of their choice. The particular performance used in Depuis le jour is by esteemed African-American soprano Leontyne Price.

A documentary about Che Guevara in Bolivia, based upon his journal listing daily agendas

Pascal Canteloup is a proofreader at a newspaper. He is bitter and irritable towards his bosses and the people he works with. He's full of hatred about life. Little by little, he sinks into madness!

A man is born. He is ephemeral. He will only live a day, during which he will go through all the stages and ages of life, growing old by several years every hour. Like a visitor from elsewhere, he encounters, discovers, and tries to understand this world in which has been born.

Since the death of their parents, while they were still teenagers, Jéremie and Maxime live alone together in an old manor at the edge of the sea. It's the sole remaining link with their family roots. Over the years, Jéremie, taking on the role of big brother and father, has continually looked after Maxime, who is still affected by the accident. Like wounded galloping horses, they have to face their destiny and confront death in order to recover their identity and be at peace with themselves.

Cahen surveys a New York in transition, in transit, in smog, in chaos and in peace.

The creation of a painting by Francis Savel (aka Dietrich de Velsa, director of Équation à un inconnu) in his studio in Montmartre: the white canvas, the tests in charcoal, the drawing, the arrival of color. Outside it is winter.

In the nineteenth century, in St. Petersburg. Poprichtchine, a small official living almost in misery, decides not to go to the office. Coming from a noble family, he can not stand his condition anymore.

The night before the offensive, a soldier hides in the bottom of an underground. Outside, the war shakes the ground and the man prepares himself with the inescapable... In this stop motion animated film, the bodies of the soldiers become again matter, alloy of earth and steel, curdled in death for eternity.

The signs of life and death intertwine within a cinematographic writing that is invented. The expression says: 'mourn'. This film tells us that it is mourning that makes us first. Martin Verdet's film, Donner le jour crosses this time which, from the death of his mother to the birth of his son, tangles day after day the material of mourning to the material of life. This film is a rare film, rare by the emotion it provokes, the quality of this emotion which is always nourished by a formal elaboration, a work on the form whose beauty immediately seizes us as an enigma and as a revelation.

Three old sisters get together every Sunday. For Epiphany Sunday, the program is busy: eating at the Chinese restaurant, drawing the kings and finally going to see, reluctantly, the show of the fourth sister, the extravagant one, the scandalous one, who is part of a comic troupe of the third age...

"The film systematically shows man destroying man. It is about war and inhumanity. Largely assembled from newsclips and elaborate montage of still photographs. While working on the film, I came to realize that the strongest thing about violence and the most abstract thing about violence is its sequential nature, that war has never stopped, and that it is just the leading of one conflict into another conflict. I could keep this film going forever...." —Charles Gagnon