Anastasia, an 18-year-old ballet dancer at the Opéra Garnier, becomes the obsession of a disfigured man living in the opera's underground labyrinth.

Unwilling to marry, Silvia poses as a maid in order to meet the man she is to marry incognito. This will allow her to study the character and behaviour of her fiancé. But the young man resorts to the same stratagem...

A parody of television shows and streaming platforms.

Samuel goes to Nice to pass the exam of the School of Fine Arts. He is accompanied by Nordine, uncultivated in art who takes some holidays.

Third part of the Jacques Toumoy trilogy.

In an abandoned world, a small rodent wanders in search of life. One day, he discovers a house covered in flowers, a true oasis amidst the ruins. There, he has an unexpected encounter with a giant...

Inspector Sergil is assigned the mission to protect the dictator of Santa Juanita during his stay in France and - it goes without saying -trouble begins at once, as of his journey in the fast train from Paris to Marseilles. A lot of opponents of all kinds are intent on liquidating the dictator and they do not particularly like to have Sergil in their way. When Bijou, the inspector's fiancée, accepts to serve as a bodyguard for the dictator, she is soon kidnapped and will not be released until Sergil tells them about their enemy's hiding place. Where the shoe pinches is that the dictator has disappeared and Sergil does not even know where he is.

Jean Eustache (1938-81) was clearly obsessed with remakes. Not only did he remake his 1968 documentary about his home town, LA ROSIÈRE DE PESSAC, in 1979; he also remade his 1977 documentary UNE SALE HISTOIRE twice—first as a fiction film, and then, less literally, as a documentary about Bosch’s “The Garden of Earthy Delights” two years later. 　　Let me explain. The first version of UNE SALE HISTOIRE, designed to be shown second, and shot in 16mm, features Jean-Noël Picq recounting a supposedly real-life “dirty” story to a group of people, mainly women (although also including Eustache himself, visible in the foreground of a couple of shots)—a tale about peering for hours through a hole in the wall of a café into the ladies room in order to watch the snatches of women seated on the toilet. (He calls the women’s snatches their “holes,” and the word trou is repeated incessantly throughout his monologue.) The second version, shot in 35mm and designed to be shown first, adds a short prologue with critic Jean Douchet as a film director (an apparent stand-in for Eustache) asking Michael Lonsdale to tell the same story, this time to a different group of people (again mainly women, but not including Eustache)—which he does, using virtually the same words, while the women listeners make precisely the same comments. (The only previous time I saw this film, in Paris soon after it was made, these separate versions were shown respectively in 35mm and 16mm. In the Eustache retrospective currently touring in the U.S., they’re both shown on 35mm, which obscures some of the visual differences.) 　　As for HIERONYMOUS BOSCH’S “THE GARDEN OF EARTHLY DELIGHTS”, this shows Picq again, in a different living room, describing and discussing Bosch’s famous triptych (see photo below), mainly the middle panel, to a group of young people, again mainly women, who again add a few comments of their own. The main emphasis here is on various body orifices. 　　An obsessive-compulsive filmmaker and clearly a tormented one who wound up dying by his own hand, Eustache was clearly experimenting with his variations as well as goading viewers into examining their own reactions to them. The monologue in both versions of UNE SALE HISTOIRE evokes many of the interminable monologues of Jean-Pierre Léaud in THE MOTHER AND THE WHORE (1973), all of which were reportedly real-life monologues that Eustache delivered to friends or lovers and then transcribed shortly afterwards.

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