A troupe of French actors on tour in Normandy become involved in the events of WWII.

Porcelain maker invites a guest to sell him chamber pots, however family problems cause interruptions.

Amandine is twenty years old, the most beautiful buttocks in Paris, and unfortunately a very ugly nose, which forces her in her profession of model, to pose only from behind. Trying in vain to save money that her sister Joëlle constantly borrows from her, she will finally be reimbursed and will thus be able to afford aesthetic surgery and become a lovely cover girl...

Little did this pretty brunette know when she applied for a babysitting job that her employer was an artist and that everything at his place differed from the outside world. What struck her the most was to find out that her boss had shrunk his wife and kept her in the fridge in order, as he said, to keep her safe from a hostile world!

1965 film directed by Guy Gilles

A young woman lives sadly in a small garrison town with a soldier. Little by little, won over by boredom, sadness, total inaction, she develops a relationship with plants and starts talking to plants.

Sagamore Noonan lives in seclusion on a farm in Alabama, where he distills moonshine during Prohibition. He receives a visit from his brother Doc Noonan and his son Billy. A young stripper and her gangster boyfriend come to disturb their peace.

A story about a guy who still lives with his mother and sells some really awful alcohol to bartenders. The only way for him to do this is to cry and invent himself an awful life. Then he meets the beautiful woman whose goal in life is to sleep with the less exciting guys on Earth.

Four young people, tired of working life, decide that they can earn money from crime than they can from work. The film follows their training at the first "crime school", as well as their work.

...after "les amants de minuit" a charming romantic story directed by Roger Richebé the precedent year.This one was directed by Marc Allégret who is essentially renowned for his pre WW2 work.The fifties were his brother Yves 's time ("une si jolie petite plage" "manèges")and by 1955,he had fallen into mediocrity ("en effeuilllant la marguerite" ," sois belle et tais-toi").
"Julietta" is a harmless little comedy(much less entertaining that " les amants de minuit")which is watchable only because of the three actors:Jean Marais,Dany Robin and Jeanne Moreau;the latter probably had the worst part of a brilliant career:she portrays here a snub squeamish yellow-bellied bourgeois whom Marais takes to his desirable property;the problem is that he has already taken in Robin before,and he has got to hide her from Moreau's jealousy.You can describe the plot as an endless hide-and -seek game.
NB:Dany Robin's career ended with Hitchcock's "Topaz" (1969),but it was one of the master's worst works (it might actually be the worst).She tragically died in a fire in 1995.

The film is a road movie that follows a middle aged man who gives a young woman a lift. On the car radio, news bulletins warn the population against a recently escaped sadist who is known to prey on young women and children. Lelouch often cuts away from the main story, if only briefly, to parallel events that are not necessarily crucial to the story but illustrate what is suggested by the radio.

The first episode – featuring frequent Borowczyk muse Marina Pierro – is the longest and, in a way, most substantial: it’s set in Renaissance Rome, with the lusty (and perpetually nude) leading lady sexually involved with famous painters and church benefactors. The second episode is the most notorious and, consequently, gave the film its controversial poster – featuring a rabbit slowly disappearing under the skirt of a teenage girl (played by Gaelle Legrand). The third and final episode, which has a modern-day setting, is the shortest – but also, possibly, the most outrageous: Pascale Christophe is a young married woman who’s abducted on a busy Parisian street by a small-time hood hidden inside a cardboard box!

Catherine is a servant girl working for the local mayor and victim of the sharp tongues of the mayor's wife and her friends. This is made clear in a first scene where she is asked to get the key of the mayor's desk at a cultural party the wife is attending. She is harassed by the whole elite who dislike the intrusion of the maid. In this scene it's made clear also that the wife has a secret lover who will later challenge the mayor's political career and will use Catherine as a scapegoat for his own ambitions. This role of "bad guy" is played by Renoir himself. The mayor who is fond of Catherine and is afraid that she'll be more victimized by his wife asks his sister to give Catherine a position in her own household. The sister has a son with tuberculosis (role played by Dieudonné). He's so weak he has no success with women of his class but of course Catherine will like instantly this fragile man. He dies after kissing Catherine while the rest of the town is celebrating carnival. The kissing scene at the window mixed with the fireworks is a brilliant moment of silent melodrama. Catherine is in mourning and because of that driven away by the mayor's wife and her friends. It is indecent that a servant girl is in mourning and shows public affection for someone who is not from her own social status. The emotions of Catherine are the element of disorder in the social ordered world of the rich. Catherine goes away and hides in a cheap hotel in the city where she is also bullied by a local pimp who sees in her an easy target to exploit. By accident Catherine is seen in the hotel window with the pimp, so more reason for gossip by the elite. When she returns to the village looking for a job she is rejected everywhere, even by the local Christian relief organization of which the mayor's wife became president. She meets the mayor again who is shocked by the attitude of the town, takes her in his home again and promotes her to his secretary. The wife is furious of course and leaves her husband to live with her mother. It is start of a slander campaign against the political credibility of the mayor. The lover of the mayor's wife sees what is happening as a golden opportunity and makes a public attack on the moral character of the mayor (what's new under the sun?) Catherine wants to avoid the downfall of her protector and leaves the mayor, explaining herself in a note. She hides in an old tram for the rain while the mayor is driving around in his car frantically looking for the girl. Two vagabonds are thrown out of a pub and out of frustration push the tram car, so it starts a crazy race up and down the hills towards the bridge and the valley abyss. Catherine is already accepting her death but is saved in time by the mayor who has made his choice for the girl. The social implications of his choice are not shown but are clear for all.

An aimless young woman is sent home from school with nothing to do. Drifting through the streets of Paris, she comes across a variety of people.

1962 film by Maurice Pialat

The tale of a rich, flaky poet and his servant who both join the army and wind up in the same barracks.

从1957年到1964年，让鲁什跟随在Yatakala地区的Gaos猎人进行了多次尝试，试图狩猎老狮子，技能和魔法紧密联系在一起: 造弓和制箭、准备毒药、追逐、杀害仪式。这个绰号叫“美国人”的老狮子一直躲避着陷阱…
From 1957 to 1964, Jean Rouch has followed Gaos Hunter in Yatakala, trying several time to hunt the old lion. The skill and magic connect closely together: making bow and arrow; prepare poison; chasing; killing ritual. The old lion whose nickname was American has tried so hard to avoid the trap...

1950 film by Alain Resnais

1948 film by Alain Resnais

Three young men from the Savannah of Niger leave their homeland to seek wealth and adventure on the coast and in the cities of Ghana. This film is the story of their travels, their encounters along the way, their experiences in Accra and Kumasi, and, after three months, their return to their families and friends at home. The film is part documentary, part fiction, and part reflective commentary. There was no portable sound synchronized equipment in the early 1950s when Jaguar was shot. Instead, Rouch had the main characters (his friends and "accomplices") improvise a narrative while they viewed the film, which was itself improvized along the way. The resulting soundtrack consists of remembered dialogue, of joking and exclamations, of questions and explanations about the action on the screen.

Short-term, rural migration to the cities is common to much of contemporary Africa. Here we meet Lam the herdsman, Illo the fisherman and Damoure, their unsettled but literate friend. The three trek for more than a month south through Dahomey to Ghana, crossing the land of the Somba people (whose nudity shocks them), eating coconuts "more delicious than cheese," and delighting in the ocean with its waves and starfish. Eventually they part ways. Damoure and Illo go to Accra and Lam to Kumasi, where they find jobs as dockworker, foreman for a lumberman, and cattleherder for a city butcher. Having made their separate journeys, they meet again in Kumasi with a fourth friend, and set up an open-air stall, Petit a Petit, in which they hawk everything from alarm clocks to pictures of Queen Elizabeth.

Financially successful but homesick, the friends decide to leave the excitement, turmoil and bewildering complexity of the city to return home to Niger before the rains. Lam rejoins his herd, enriched with a new umbrella and a lance; Illo, "magician of the river," catches a hippo and distributes everything he has brought from his journey to his family; and Damoure admires anew the beauty of Niger women.

Yet although life in the village resumes as usual, Illo, Lam and Damoure have been "jaguars" in the city: sophisticated "keen young men" with fancy hairdos, cigarettes, sunglasses, money, and knowledge of the urban world. The film raises, but does not answer, questions about the meaning of this experience and the transformations it may entail in the lives of the returned youths. Jaguar, Thomas Beidelman has written, "does succeed in catch ing the flavor of what it must be like to pass to and from a modern city and a rural village in Africa . . . jaguar could be an eloquent document on the process of social change."

The flavor, it might be added, is very gay. Rouch has pointed out that jaguar does not attempt to reveal the misery and pain of the annual migration, or the boredom of village life in the dry season (eight months of the year) when young men, no longer warriors as in the past, have nothing to do. Few men, in actuality, become "jaguars" in the carefree style of Damoure, Lam, and Illo. For most, the city is a struggle. Yet jaguar is nonetheless a vivid portrayal of the ideal of migration, a fantasy imparted through the improvised actions and spirited commentary of the characters. In this film Rouch has developed a form one might call "ethnographic fantasy," with an authenticity and reality as important, although quite different, from that of Rouch's own monograph on rural migration to Accra.