Francis Bouillon, former defenseman of the Montreal Canadiens, is the expedition leader who makes famous personalities live through survival experiences. Over a period of up to 48 hours, guests are placed in a perilous situation inspired by actual events.

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.

A parody of television shows and streaming platforms.

We don't have an overview translated in English. Help us expand our database by adding one.

Published in 1949, The Second Sex became the bible of global feminism. An essential work that passionately advocates for gender equality, women's independence, and the liberation of morals. Today, how does this seminal work continue to resonate in our contemporary world? Conceived as an initiatory journey to the origins of Simone de Beauvoir's thinking, the film The Second Sex: In the Footsteps of Simone de Beauvoir takes us to the United States, to the places that inspired the philosopher and nourished her theories. An American road trip bringing together the worst and the best, predatory capitalism and mad love. A unique reinterpretation in the company of the great thinkers of our century.

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.

One day in 1986, François Mitterrand forgets his black felt (his initials) in a Lyons restaurant. Daniel Mercier, a young executive who has just been reprimanded by his superior, who judges that the computerization of its business plan is stupid, steals it to clear his head. It was then that his life is turned upside down.

A peaceful provincial notable saves the life of a man who has just had a car accident. He has no idea that his life is going to be completely turned upside down…. Because Jean-Bernard Hollier is what we can call a “ball”. A ball with a big heart but above all a ball… And by wanting to thank his savior at all costs, he is just going to make his life hell! Not happy mafiosi, burglaries and troubles of all kinds will rain down on the two men and their family... All they have to do is work together to get out of this mess... But that is not a foregone conclusion. …

Roman has two problems: First problem: he is twice the age of Lulu. Second problem: it is not at all a problem for Lulu.

A monk for thirty-seven years, Brother Gregory could not resist the temptation. Leaving the monastery for the first time to fulfill his duty as a voter, he catches up with pastis and women.