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3D promotional images from the Lon Chaney picture.
Everywhere in Artois, Juliette is said to treat sick cows. Juliette is a healer, for want of better, but her dream is to raise and sell animals. One evening, an unexpected opportunity arises: if she cares for a cow from the big Jourdel family, they could well hire her. But that night, the healing doesn’t go as planned.
The great pride of Paris, the Notre Dame, is burning. The fire department work hard to save the cathedral from a great disaster, while many Parisians watch in horror.
A modernized, Americanized version of the story of the juggler who performs before the statue of the Virgin Mary.
In the old Spanish cemetery of Larache, by the sea, where Jean Genet spent the last ten years of his life, a modest family of guardians watches over this dead man with profoundly human affection and constancy.
Anna (Laurie Gagné) is going through a particularly stressful time: she is preparing to reconnect with Jason (Thomas Lapointe), the son she was forced to place for adoption almost 20 years ago. Unable to go through with this meeting, she takes refuge, clandestinely, in the house of an elderly couple. A dramatic event changes everything and forces Anna to forge an impromptu relationship with Victorine (Louise Turcot). The strange cohabitation of these two women will help them find the courage to face their trials.
A documentary on an underground theater group in Hamburg, the film unexpectedly became a study in gay attitudes toward death when one of the actors was stricken by a heart attack.
Pieces of memories restitute what remains from a lost love.
In Our Nazi, we are plunged into a situation we barely, and only slowly, understand: the filming of Thomas Harlan’s experimental feature Wundkanal (1984), in which true-life ex-SS officer Alfred Filbert, now very old, is ‘put on trial’ for the camera, without him suspecting what is to come or why he is really there. Kramer’s confronting film is an essay about the sticky complicity of everyone present at this event, each bringing their own history, their own political ideology, their own desires to take revenge, to seek redemption or compassion, or just to put their heads down and ‘get the job done’ professionally, or (in the case of Filbert) to be a star, a part of the magnificent, magical, seductive world of cinema, even if it kills him.
The announcement of the future marriage of Franck Reno, the star singer, causes considerable excitement around the world.
Mbissine Thérèse Diop played the starring role in Ousmane Sembène’s landmark first feature, 1966’s Black Girl (La Noire de…). Today, she looks back on her experience as a Black actress in the 1960s.
