Acting
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As the city of Paris and the French people grow in consumer culture, a housewife living in a high-rise apartment with her husband and two children takes to prostitution to help pay the bills.
A travelogue of abandoned strip mining sites in France extolling their potential for recreational use.
A troubled young woman who lives alone in a rundown house meanders around and one day reveals a hidden talent when she goes into a bar, plays magnificently at the piano, and leaves as mysteriously as she came. Meanwhile, an unidentified man is on her trail and eventually tracks her down to the bar she had visited. As the dragnet around her closes in, it becomes apparent that the young woman's stepmother is behind the effort to locate her. But questions over why she is hiding out and what she is hiding from begin to take on more importance as the history of the young woman starts to surface.
Contemporary Paris, mid-July. Guillaume arrives in the capital to caretake a large apartment until the end of the summer. Lucie, the apartment’s owner, and a friend of his mother’s, welcomes him… then suddenly disappears.
A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired sometime around 2015.
A short video by filmmaker Noel Simsolo discussing Jean Cocteau and Jean-Pierre Melville’s creative relationship and the production of the 1950 film LES ENFANTS TERRIBLES.
Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, featuring real people, sometimes moving, in an effort to explain the series' significance.
Jean-Louis Comolli and Jean Narboni, former editors at Cahiers du Cinema, interview their former colleagues and fellow travellers during the "Red Years" of the journal between 1968 and1973.
An interview with French film scholar Jean Narboni about Jean-Luc Godard's 1962 film VIVRE SA VIE.
Reel 33 of Gérard Courant’s on-going Cinematon series.
Filmed between 1973 and 1975, L’Olivier was produced by the Vincennes Cinema Group. This activist collective of teachers and filmmakers, formed on the occasion of this film, attempts to explain the Palestinian problem through interviews. The Olivier was one of the first films to attempt to give substance to what was still largely ignored in the West: the existence of the Palestinian people and their fight to recover their rights. L'Olivier responds to a concern: the already weak support of French public opinion for the Palestinian cause diminished following the Munich operation of 1972. Structured in such a way as to tell the Palestinian story and explain the state of the struggle at the time, the film appeals to global militant solidarity and, in particular, to European political commitments.