The skeleton staff of a deserted neighborhood's police station that is closing down the next day are under attack all night by the overwhelming numbers of a relentless street gang bent on revenge.

莫里斯·皮亚拉70年代初筹拍的7集电视剧，但却为他赢得甚至比电影更高的评价。影评人将它与法施宾德的《柏林亚历山大广场》相提并论。故事讲述一战时期，一个猎场看守人收养了一个小男孩，战争逼近，他们必须在森林里躲避战火。

A producer monkey pitches a fairytale extravaganza to a sceptical financier. A psychedelic meta-comedy that mixes animation with excerpts from a Soviet science-fiction fantasy spectacle.

1976 film by Elaine May

Charles drifts through politics, religion and psychoanalysis, rejecting them all. Once he realises the depth of his disgust with the moral and physical decline of the society he lives in, he decides that suicide is the only option...

A retired professor of American origin lives a solitary life in a luxurious palazzo in Rome. He is confronted by a vulgar Italian marchesa and her lover, her daughter and her daughter's boyfriend, and forced to rent to them an apartment on the upper floor of his palazzo. From this point on his quiet routine is turned into chaos by his tenants' machinations, and everybody's life takes an unexpected but inevitable turn.

Jocelyne Saab, a young Lebanese journalist and director, interviews the director and the film crew while filming Nahla in Beirut.

1979 film

Portrait of a French mercenary working in Libya, hired by the Phalange to train the militias. War leaves its traces; and for some, who see death as part of the job, it’s a vocation.

A few months after the incident of April 13, 1975, during which Palestinian civilians were machine-gunned by Phalangist militiamen, the toll is most tragic: six thousand dead, twenty thousand wounded, incessant kidnappings, a semi-destroyed capital. This film traces the origins of the Lebanese conflict, the perception of a society that goes to war while singing. A unique document on the Lebanese civil war. Beyond the religious war, the painting of a social and political reality that has not changed much, more than four decades later.

Film en trois parties : Raymond Depardon filme L’embuscade d'Aouzou, au Tchad où avec Gilles Caron, Michel Honorin, Robert Pledge et un groupe de rebelles, ils sont attaqués en 1970 par les troupes auxiliaires tchadiennes. Les deux autres parties (1975-76) comportent l'interview de Françoise Claustre, captive des combattants du Frolinat dirigé par Hissène Habré et Goukouni Wedey, ainsi que l'attaque de la palmeraie de Faya. L'interview effectuée par Raymond Depardon dans le cadre de ce court métrage documentaire émeut l'opinion publique, et Paris cèdera, payant la rançon demandée par Hissène Habré, et s'élevant à dix millions de francs. L'histoire de Françoise Claustre servira de base au film La Captive du désert de Raymond Depardon, avec Sandrine Bonnaire.

A thief breaks into the home of a wealthy, happily married Beverly Hills couple. He soon finds out, though, that the couple is neither as wealthy as he thought they were and are not as happily married as they appeared.

Dorothy Gale, a shy kindergarten teacher, is swept away to the magic land of Oz where she embarks on a quest to return home.

1974 biographical film directed by Peter Watkins

People of the Jasak village, near mountain Fruška Gora (Yugoslavia/Serbia), show how they undertook operations against the Axis forces during WWII. They tell about the dramatic events, how they helped hide partizan troops and how younger villagers joined partizan troops in Bosnia.We listen to recolections of the Nazi imprisonments, persecutions and torture. In the last quarter of the movie people talk of the events from 1944. when the village was freed and the Russians went through their village. They remember the joy and great hope for the arrival of freedom and socialism.

Žilnik takes his camera to Šabac Fair, one of the largest flea markets and festivals in the Balkans, to meet with the people who run it. Cutting between tradespeople, performers, musicians, and fair employees, Žilnik highlights its chaotic and cooperative community.

Žilnik invites six homeless men to his flat for a few days (surprising his wife). He asks officials and people on the street if someone can help them, this being SFRJ, a state officially without those left on their own. At the end, the six men come to the conclusion that no one can help them.

Tenants of one old building in the centre of Münich are featured in this film: most of them are foreigners who work in Germany as "guest workers" (Yugoslavs, Italians, Turks, Greeks etc.). In their mother tongue, each of them tells who he or she is, and briefly talks about their major worries, new hopes and plans for the future.

1975 film by Chantal Akerman