Following the death of their miller father, his eldest son inherits the mill, the middle one a donkey, and the youngest a cat. While initially disappointed, the lad soon learns not only that the cat can talk but is quite resourceful.

“Everyone steals according to one’s position in society.” A social critique, a credo to live by, and a recipe for the hilarious satire of Jacques Offenbach’s Les Brigands! The Opéra Comique’s rollicking 2011 production took full advantage of the talents of stage directors Macha Makeïeff and Jérôme Deschamps (members of the wildly successful French comedy troupe Les Deschiens) and the accomplished music director François-Xavier Roth.

The first best of Les Deschiens on DVD. A selection of the best "classic" and "modern" sketches.

The life of a "big" restaurant seen as a world unto itself, a world apart with its own inhabitants, rules, intrigues, movements, hierarchy, history and stories, internal and external relationships... an organic world that pulses, moves, shouts, cries, sings and, of course, eats. Here, the particularity of their vision lies in the stage set-up, which offers two separate, parallel spaces that interact with each other: the "visible" world on the dining room side, and the "underground" world on the kitchen side. At intermission, the spectator switches sides, seeing the same story from two radically different points of view.

With this DVD and Blu-ray of Rodelinda, one of Handel’s most emotionally complex operas, conductor Emmanuelle Haïm adds to her impressive Erato catalogue of the composer’s works. The imaginative production, by Jean Bellorini, was seen at the Opéra de Lille in Autumn 2018, and the cast features soprano Jeanine De Bique in the title role, countertenor Tim Mead as her husband Bertarido and another countertenor, Erato’s rising star Jakub Józef Orliński as Unulfo. Reviewing the production, Le Monde noted Emmanuelle Haïm’s “intimate connection with this music, which she knows how to unleash in all its violence, passion and heart-wrenching expressivity.”

An analysis of French director Jacques Tati's 1957 film "Mon oncle" which discusses the stylistic similarities between it and the other Monsieur Hulot films.