Edmond Tamiz

Le capitan is a 1960 French-Italian swashbuckler film directed by André Hunebelle and starring Jean Marais, Bourvil, Elsa Martinelli and Lise Delamare. It is based on a novel by Michel Zévaco.

The story of the Three Musketeers, D'Artagnan, and the imprisonment in an iron mask of the identical twin of the King of France, Louis XIV.

Duke Philippe de Nevers is an influential and popular man who is married to a beautiful wife called Aurore. His rival Philippe de Gonzague hates him enough to organise an attempt on him. The Duke is accompagnied by Henri de Lagardère when de Gonzague's henchmen altogether attack him. Lagardère cannot save his friend because the both of them are hopelessly outnumbered. He has to escape in order to save the Duke's daughter and swears revenge. Together with his old buddy Passepoil he raises the little girl in Spain. At the same time he returns frequently to France where he detects confronts his friend's murderers and puts them to the sword one by one until only their former leader is left. Finally he discovers that Philippe de Gonzague is the man for whom he is looking.

Based on Sébastien Japrisot's novel, the story revolves around a young girl who suffers from amnesia after surviving a terrible fire.

Martial, Colette 's husband, is madly jealous. One day, he catches his wife writing a letter and he does want to know what this message contains, to no avail.

The most secret agent Stanislas Dubois, tired of saving the world alone decides to retire and to start writing his memoirs. The enemies of humanity, progress and peace in the world found out about it and created an international network of espionage "13 columns". Unfortunately they platted a slot in the good old France. They should think better...

Documents relevant to National Defence have been concealed in a certain vase by a dangerous gang of robbers. To neutralize the criminals, a seasoned police commissioner and his clumsy assistant, young inspector César, join forces with a colorful trio of thieves nicknamed Le Pouce (Thumb), L'Index (Index Finger) and Le Majeur (Middle Finger)...

Based on a venerable Legend of the Sea, the story concerns a pliable prostitute named Bella (Romance) who is all things to all men. No matter what sort of woman her client wants, she will become that woman -- at least for the night. When a middle-aged man named Jean insists that Bella is his long-lost sweetheart, she plays along, hoping to escape her sordid lifestyle. The emotional tragedy that follows is meant to explain how Bella became "Maya," the living embodiment of Lost Souls.

Bavaria, 1433. Reason of state rules that Prince Albert is to marry Princess Bertha of Wurtemberg. But the fine-looking young man is loath to become the husband of a woman with pimples,flat feet and no breast. Nevertheless, he has to obey his authoritarian father, Duke Ernest, and accompanied by faithful Count Törring, he mounts his steed and sets out for Würtemberg. Stopping in Augsburg, he falls in love with the daughter of a local barber-surgeon, pure and beautiful Agnès Bernauer. The couple is soon secretly married and both take refuge at the castle of Margravine Josepha, Albert's aunt, waiting for Ernest's consent. Unluckily Albert's father will not accept his son's union with a commoner and Albert, supported by Josepha and an army of common people, declares war on the Duke. They seem about to be victorious when Brother Enrique, a monk formerly in the Holy Inquisition, finds a way to reverse the situation: accusing Agnès of witchcraft...

Mathilde Stangerson just married her fiance, when she heard that Larsan, her cruel former husband, whom she believed to be dead, is actually very much alive. Taking refuge to her castle, she appealed to the journalist Rouletabille to protect her.

The Jacques Brothers, their temporary replacements, Yves Gérard and his troupe, as well as a famous movie star looking for a new partner, Evelyne Dorsey, are causing disruption at the "La Rose rouge" cabaret, the most famous cellar in Saint-Germain-des-Prés, to the delight of regulars.

The two merrymakers Cartahu and Bailladrisse sail together on a cargo ship. When customs officers come aboard to conduct a search, Cartahu is unaware of a drug dealer's accomplice, who hides the box of narcotics in Cartahu's bag, which has already been visited. Unsuspecting, the two comrades go ashore, taking the precious box with them. At the hotel, by mistake, their luggage is given to another person. To recover the merchandise, the traffickers pursue the two friends, who nevertheless manage to have the whole gang arrested; and, after being tempted by pretty women to live with them, prefer to set sail for new adventures.

Alfred is in love, but shy. Desperate not to have the audacity to express his passion to the woman of his dreams, Nicole, a young dairyman, he enthusiastically accepts the proposal of Don Juan to make his sentimental education.

This is the story of an obsession. Mona Lisa keeps smiling quizzically while our poor hero is pursued by her representation in all its forms, in all places. She smiles at him in a museum, at a bookseller along the banks of the Seine, in the streets, at a café. Enough to drive him up the wall!

Molière pour rire et pour pleurer recounts the life of Jean‑Baptiste Poquelin, from his childhood in an artisan family to his rise as Molière, a central figure of French theatre. The series shows his difficult decision to abandon the family trade and join Madeleine Béjart to found L’Illustre Théâtre, marked by debts and repeated setbacks. While touring the provinces, he shapes his style and discovers the power of comedy. Back in Paris, he makes a name for himself with Les Précieuses ridicules, but his sharp satires provoke fierce opposition, especially during the Tartuffe scandal. Supported by Louis XIV, he continues despite attacks, literary rivalries, and tensions within his troupe, particularly with Armande Béjart. The miniseries also follows his growing exhaustion, his determination to perform at any cost, and his final breath after Le Malade imaginaire, the ultimate symbol of an artist who lived — and died — for the stage.