In this mystery, a nouveau-riche Frenchman returns to his Parisian home after finding a fortune in Africa. He is looking for a wife and begins advertising in the newspaper. Instead he finds himself victimized by con-artists.

The artistic career of American actress Mia Farrow has been that of a passionate and committed woman who became the embodiment of a special kind of femininity, halfway between innocence and madness.

A playwright has to murder if he does not want to be murdered.

Elle forma avec Claude Chabrol l’un des couples les plus prolifiques de l’histoire du cinéma. À travers leur relation, et au fil d’extraits de films, de reportages et d’émissions, un portrait, irrigué d’humour et d’élégance, de l'actrice Stéphane Audran.

1987 film by Sylvain Madigan

Colérique, anticonformiste, d’une rare exigence dans son art... : William Karel, qui fut son ami et son photographe de plateau pendant près de vingt ans, raconte Maurice Pialat. À partir de cette relation privilégiée, de ses archives personnelles inédites, de témoignages des plus célèbres acteurs du cinéma français, portrait d’un immense cinéaste qui fut aussi un homme blessé

The widow of a murdered undercover NATO officer in Greece is the prime suspect in his killing. She finds herself embroiled in a bigger conspiracy about the sabotage of U.S. radar installations while trying to prove her innocence.

1987 film by Gérard Krawczyk

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

In 1959, an unforgettable boy did "the four hundred tricks" in front of the camera of a beginner named François Truffaut and splashed with his success, popular and Cannes, the filmography of a nascent band of intrepid. Claude Chabrol's "Le Beau Serge", Jean-Luc Godard's "A bout de souffle", Jacques Rivette's "Paris nous appartient", Eric Rohmer's "Le Signe du lion", Jacques Rozier's "Adieu Philippine", Agnès Varda's "Cléo de 5 à 7"...: This wave, quickly named "New Wave" - an expression invented by Françoise Giroud in an article dedicated to youth - is the work of apprentice directors who, for many, have swallowed kilometers of film at Henri Langlois' Cinémathèque française and sharpened their judgment in the columns of Cahiers du cinéma.

A movie about a good-for-nothing stuntman called Mike Gaucher who can't do one single job without something going wrong. His fiancée wants to kill him, the film studios don't want to give him any more work and, as King Kong for a promotion in a supermarket, he winds up destroying some display shelves. The only role he plays well is pretending not to be able to hear, speak and walk in order to get money from the government. Then along comes the "beautiful" actor called Bruno Ferrari. Supposedly a fearless stuntman, Ferrari turns out to be afraid of heights once his feet leave the ground. So a stuntman is needed to prevent a scandal. And who is the man who looks most (or exactly) like Bruno? You guessed it, good-for-nothing Mike...