Schomberg, an enigmatic psychiatrist runs a nursing home. He is forced to close his clinic and disappear to escape the police. But he wants revenge on his wife's lover, Didier Laurent, a former RAF fighter pilot. Didier meets a young trapeze artist, Paula, with whom he falls in love. The happiness of the two young people is disturbed by the assassination of Irene, strangled by Schomberg who casts suspicion on Didier. Fortunately for them Commissioner Ulysses knows the truth and forces Schomberg to commit suicide.

A desperate woman, whose son is on trial for murder, blackmails the judge and kidnaps his wife.

The film is at first a documentary about the early days of French television. The various techniques of the new medium are explained through the filming of a flamenco show. The second part is an exercise in futurology. Basing himself on René Barjavel's revolutionary ideas, Raymond-Millet imagines all the ways television might be used in the days to come. His finds foreshadow the videophone, the cell phone, the Internet, electronic surveillance as well as virtual images. The whole thing is presented in a humorous unpretentious way.

Brussels in the year 1568, as the Flemish people are fighting against the tyranny of the Spanish occupiers. Led by Count de Rysoor, the revolt against the ruthless Duke of Alba, is meant to help Prince William of Orange to get into the city and come to power. Now, the count's lieutenant, has an affair with Elisabeth, Rysoor's wife. For the time being, the count, who thinks of his homeland first, turns a blind eye. But such a relationship might well undermine the whole rebellion movement.

Jean Grémillon’s first talkie, the 1930 LA PETITE LISE, is anything but talky. While opening and closing with soulful afro-Latin strains, something just above silence reigns throughout the film. Grémillon is already orchestrating the auditory menace of nuanced sound sculpting that would later pervade REMORQUES (1941), setting forth evolving rhythmic figures at an atmospheric whisper. Grémillon grafts this aural frieze onto smoldering b&w photography. Truly, the frame is often smoking for purposes of motif. In truth, this film has the most impressive use of sound I know of, including Bresson’s MOUCHETTE. It’s up for speculation as to how much technical issues played into his creative use of sound and off-screen. What is of particular note is that instead of milking the capability of sync sound dialogue, Grémillon uses it very sparingly, increasing the range of expressiveness. An abstract score of atmospheric insinuation is always in accompaniment with the imagery tonally, rhythmically and dynamically. Listening carefully, ambient sound isever at work in a subliminal music score. The story of LA PETITE LISE belongs to the sandbox of melodrama, but Grémillon grinds it into expressionistic minimalism. What is this story? Perhaps it will suffice to say that it is the reunion of a father fresh out of prison with his daughter now grown up, all prepared under a pressure cooker of lens and mic. Conflagrations arise periodically from the embers of troubled quiet, with lighting flickering to and from peaks of intensity. Emblazoned gestures extend from the sustain of affective brood, while conversations flare up before subsiding back into the simmering cauldron.

A propaganda film of the communist party of France, showing how the comrades help the proletariat against the capitalists.

A generous doctor is aghast that the population of a small island is being oppressed and mistreated, but is seemingly unable to do anything about it, until the arrival of a young woman and the death of one of his friends prompts him into action.

1978 film by François Truffaut

1977 film by Luis Buñuel