Juliette Brac

In the summer of 1939, 13-year-old Marie goes with her parents to visit her grandparents in a small town near Avignon. Marie discovers her femininity and falls for a young Jewish doctor, but he prefers Eva, Marie's mother.

An epidemic of appliance madness unrelated to discount sales strikes an island off the coast of France: the islanders are being murderously attacked by ovens and refrigerators acquired in the same department store. Enter the young Dr. Gabrielle Martin (Anny Duperey), who arrives here to escape her own personal tragedy and instead lands in the middle of the kitchen mania. She tracks down the cause of the rapidly spreading epidemic to another doctor on the island — quite as insane as any of the kitchen appliances (if the comparison could be made) — and finds that the villainous doctor and the appliances have a most unusual link. Graphic scenes of mutilation by an oven, as one example, leave nothing much to the imagination in this film, but the interpretations of actors Anny Duperey and Jean-Claude Brialy as the good and evil doctors are excellent.

Malisard is a reporter at "Soir de Paris", his colleague Prévot is a photographer. Together, they roam the streets of Paris.

When a cruel man is visited by Saint Francis and convinced to change his ways, his family believes him to be insane and locks him away in order to sell his beloved castle

Omar, a young Franco-Algerian from La Garenne-Colombes, decided to spend his vacation in the country of his ancestors, Algeria. On his return, he boards the ferry “Le Tassili” and during the crossing, he meets people who share his doubles, in a good mood that does not hide their heartbreaks.

After serving his sentence, a robber returns to his small, quiet hometown to retrieve the loot. But a ruthless Police inspector and his equally nasty young subordinate are after the criminal.

Set amid the European community in an unspecified North African country, a colony on the verge of nationalism just before the war. And colonized is what happens to a French diplomat, Julien Rochelle, when he meets the mysterious beauty Clothilde de Watteville. Schmid 's favorite axiom, that love is projection, never had such a thorough airing. Is Clothilde really the wife of a French official now holed up in Siberia? Or is she Hecate, goddess of black magic and devourer of the Arab boys she meets far from the European quarter? Only our projections know for sure; for the rest, she is a "woman looking out into the night." Drawn from a novel by Paul Morand, who based the main character on his wife Helene, Schmid's film achieves an atmosphere of magic in which psychological credibility is not so much absent as irrelevant-a film that distances itself from the drama it invokes, perhaps as the elusive Clothilde turns her back on the madness she provokes.

Thérèse, who has come from the city, has married the sad Louis Raboux, a violent peasant who dies under unclear circumstances. Thérèse stays at the farm with Célestin, who loves her, but dares not say it out of shyness. The arrival of Pierre, who knew Louis and has something to hide, complicates the situation. Célestin's jealousy, which the maid Julia tries to console. Thérèse and Pierre's passionate love. The police arrest the young man and Célestin chases Thérèse, who falls from the roof. Célestin throws the body into an abyss, only to see Pierre reappear. In a rage, he too rushes into the ravine, from which Thérèse emerges, a new miracle-worker, ready to throw herself into the arms of her lover.