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Let’s Dance (2007)
$15.00Dans la famille Bellinsky : il y a Salomon le père, 80 ans, débordant de vie. Il se bat pour ne pas être enterré trop vite, entre des cours de claquettes sous le haut patronage de Fred Astaire et la recherche d’une compagne…La mère, Geneviève, ne rêve que d’une chose : poursuivre tranquillement son infantilisation auprès de son aide ménager, protecteur et ange gardien, Mr Mootoousamy.
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The Nanny (1999)
$15.00Rome, early 20th century: a wealthy psychiatrist, who runs an asylum for women and lacks imagination in his practice, must find a wet nurse for his infant when his wife panics after childbirth. He brings a peasant, Annette, to Rome, forcing her to leave her own baby behind. To the consternation and increasing anger of the wife, the nanny immediately bonds with the couple’s infant son – Annette’s a natural. Against a backdrop of leftist demonstrations, Annette, who’s lover is a teacher jailed for subversion, asks the doctor to teach her to read and write. Her nature and curiosity, the doctor’s bland ideas, he and his wife’s problems, and the two infants bring the story to a head.
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The Color of Lies (1999)
$15.00In a small Breton town, a 10-year-old girl is found murdered. René, her art teacher, a professional painter, is the last person to have seen her alive. The inspector in charge of the investigation immediately questions him. In this small provincial town where people all know each other and regularly meet at the Bar des Amis, René is increasingly unsettled by the other inhabitants’ suspicions and by the inspector’s investigation. Children stop coming to him for lessons. His wife, Viviane, a district nurse, protects him and supports him with her love. However, a self-centred media-star writer adds to René’s confusion…
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The Great Alibi (2008)
$15.00Like every weekend senator Henri Pagès and his wife entertain guests at their beautiful mansion in a peaceful village near Paris. But this time around, things go awry: Pierre Collier, a psychoanalyst and consummate womanizer, is brutally murdered. Claire, his wife, dazed and confused by his corpse, with a smoking gun still in her hand, seems to be the ideal culprit…
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Regrets (2009)
$15.00After the death of his mother, fortysomething introvert Mathieu enters into a second relationship with his high-school girlfriend, Maya.
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My Man (1996)
$15.00In Lyon, where many are unemployed, Marie is a prostitute who loves her work: she’s thoughtful and exuberant toward clients old and young, slim or flabby. One night, a homeless man sleeps in the foyer of her apartment house; she gives him a hot meal, then a place on the floor to sleep by her radiator, then she offers herself. She falls in love, giving him new life, clothes, a place to live. When he grouses that he must bar hop while she uses the flat for her work, she finds them a larger flat. He grows restless, seducing a manicurist and pressing her to prostitution. He’s arrested for procuring, so Marie must decide what to do; he, too, must face the consequences of his choices.
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Normal People Are Nothing Exceptional (1993)
$15.00Martine is 25. Since breaking up with François, she has the feeling that the world is caving in on her. Between small jobs and one-night stands, she can’t seem to get a fix on herself. In desperation, after a last quarrel with François, she unintentionally causes an accident that leads her to the emergency ward of a psychiatric hospital. During her brief stay, she unexpectedly sparks into life. She takes an interest in two young patients, Pierre and Anne, convinced that she is doing the right thing in supervising their love life…
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Cinéast(e)s (2013)
$15.00Is there such a thing as strictly feminine cinema? Is it more difficult for a woman than for a man to direct a film? Is gender parity necessary in the industry? Actress and producer Julie GAYET and actor and director Mathieu BUSSON ask these questions to twenty French woman filmmakers, who face a camera together for the first time. After over an hour of lively, informal, spontaneous and funny interviews, it becomes obvious that these issues are still problematic and definitely worthy of a documentary. As Mia HANSEN-LØVE remarks, “In the eyes of the people, a woman’s film is always a woman’s film, while a man’s movie is simply… a movie”.
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