Jean-Claude Vannier

Serge Morgan is a killer working for the American Mafia. After performing a contract in New York for his employers, he takes the plane back to Paris and, during the flight, he gets to know Jane, the rich daughter of an ambassador. Once in Orly Airport he gets seriously wounded by the men of French drug kingpin Henri Emery. He manages to escape them though and takes refuge at Jane's. Passion sets in between the killer and the young lady. As of then, sex will be intertwined with blood and death. For better or worse...

Complications abound in this French film, which tells the story of a filmmaker who is attempting to put his real life into a movie; his interactions with the people in the movie he is filming create reverberations in his "real" life, although the past remains unchanged. Among the complications is his growing regard for the woman who plays his cinematic wife. She may wind up replacing his actual wife in real life. One of the highlights of this film is the insight it gives into the actual mechanics of filmmaking.

Eric and Ramzy are working as window washers at the Montparnasse skyscraper in Paris. Thinking that he has a date set up with beautiful executive Marie-Joelle (who in reality hates his guts), Ramzy stays at work late while Eric hangs around with him. As a result, the pair witness a gang of terrorists seize the tower and take its late-night occupants (including Marie- Joelle) hostage. Knowing that only they can save the day, Eric and Ramzy swing into action.

Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.

Two young friends embark on a road trip across France in a vehicle they built themselves.

Jean, a married 40-year-old filmmaker, and his young working class lover, Catherine, engage in a circular series of spectacular blow-ups and tentative reunions, their mutual desire a fire that burns them again and again.

1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won't throw a Molotov cocktail at the police. He smokes opium and talks about revolution with his friend, Antoine, who has an inheritance and a flat where François can stay. François meets Lilie, a sculptor who works at a foundry to support herself. They fall in love. A year passes; François continues to write, talk, smoke, and be with Lilie. Opportunities come to Lilie: what will she and François do?

A rebellious socially-conscious man travels to Nepal to find his dead-beat dad. There, he meets Jane, a beautiful hippie girl hooked on drugs. He's forced to steal artefacts for his father's slimy employer to earn money to help Jane.