Alain Cavalier

A self-assured businessman murders his employer, husband of his mistress, which unintentionally provokes an ill-fated chain of events.

"In this film you will see a woman's handkerchief tied around a man's wrist, a well-shaven pig's head, some adolescents who are more inventive than their elders in struggling against oppression... You will not, however, hear any dialog. Words do not prepare, do not accompany, do not comment upon the action. This is not a silent film, but a film in which the only moment of life retained for the cinematographic spectacle are those where people do not speak. The spectator will find, perhaps, a greater freedom of interpretation in it and, we hope, a particular pleasure in this." (Alain Cavalier)

“I have on occasion experienced filmmaking as an intensely shared activity. Lively friendships result and remain. Filming that affection today is no act of nostalgia. Paths once crossed make things simple. People who have been behind the camera, or in front of it, giving the movie their all, are without illusion.” (Alain Cavalier)

A shallow, provincial wife finds her relationship with her preoccupied husband strained by romantic notions, leading her further towards Paris and the country wilderness.

Variations of the three portraits of the movie L'amitié.

From his diary, filmed over ten years, filmmaker Alain Cavalier invites us to a meditation on old age, weakness and death. Made of moments of life, fragments of images, this film composes a mosaic where the spectator is invited to also find his place by himself...

René, a children's theater performer, has a problem : he is a hearty eater and he weighs no less than 155 kilos. After being abandoned by his girlfriend, René decides to go on a diet, notably to reconquer her. It is also an opportunity for him to question his former lifestyle and to define new values...

During a year, they would meet and film each other. The filmmaker and the actor, the President and his prime minister, Alain Cavalier and Vincent Lindon. In Pater, you will see them in real life and in the fiction that they invented together.

The mistress of a wealthy man misses material comforts when she leaves him for a younger lover.

Over the course of one night, a gang of twelve criminals carry out a commando-like raid on a small town.

In this drama that alludes to the Algerian War with France of the 1960s, Thomas is a deserter from the French Foreign Legion who is on the run from authorities. He helps damsel in distress Dominique, who has been taken hostage by a group of terrorists. Thomas is wounded but manages to escape after killing the guard who inflicted the injury. Dominique gives Thomas money to escape to France after he secures her freedom, but he is caught between the Foreign Legion and the terrorists seeking revenge.

In the countryside near Normandy's beaches lives Marie, unhappy. It's 1945, she's married to Jérôme, a somewhat fussy milquetoast, diffident to the war around him and unwilling to move his wife to Paris, where she longs to live, shop, and party. A German outfit is bivouacked at Jérôme and Marie's crumbling château because its commanding officer is pursuing Marie. She's also eyed by a French spy working with the Allies as they plan D-Day. He woos her (posing to the Germans as her brother) and, in his passion, forgets his mission. Heroics come from an unexpected direction, and Marie makes her choice.

A loving couple Martin and Lea have some problems with each other too.

Novelist and screenwriter Emmanuèle Bernheim and filmmaker Alain Cavalier have been friends for 30 years. They are preparing a film based on the former’s autobiography, “Tout s’est bien passé” (Everything Went Fine). In it, she tells how her father asked her to “end it” in the wake of a heart attack. Cavalier suggests that she plays herself, and that he plays her father. One winter morning, Emmanuèle calls Alain; they will have to postpone the shoot until the spring, as she needs an urgent operation.

The life of little St. Therese of Lisieux, depicted in minimalist vignettes. Therese and her sisters are all nuns in a Carmelite convent. Her devotion to Jesus and her concept of "the little way" to God are shown clearly, using plain modern language. A sense of angelic simplicity comes across without fancy lights, choirs, or showy miracles.

The charismatic, surly son of a wealthy industrialist, Clément, leads a double life as a member of a right-wing extremist organization. When he’s ratted out after a failed assassination attempt on a prominent politician, Clément and his long-suffering wife Anne flee Paris to the idyllic country home of his childhood friend, pacifist print-maker Paul. As affection blossoms between Paul and Anne, the emotional, as well as political tensions, soar and eventually explode.

Alain is getting older. For years he has been filming his daily life: his partner Françoise, the people he meets, nature and animals, and life in all its splendour and cruelty. Having devoted his entire life to filmmaking, with the camera as an extension of his arm, he has observed the world with a poetic sense of authenticity and simplicity. Otherness, the approach of death, the power of life and the importance of others intertwine as he looks back on his life as a filmmaker and as a man, concealing nothing, and offering a vision of the universality of the human experience.

When a young auto salesman is forced to give up a vacation with his wife in order to drive a big American car to its new owner who lives on the Riviera, he makes the best of things. First, he gets and old friend to ride along with him. Then, the two of them are joined by another pair of men who want to ride south.

Joseph Morder begins to film his life with a cell phone and thus begins to realize some life-changing experiences in attempts to discover a new film language

A man walks a length of railroad track, looking for his elderly mother whom he believes fell from the train at some point. He brings his daughter along.

"These portraits are encounters I wanted to be kept from oblivion, even if it is only while you are watching them. They are women who work, who have children, and who, at the same time, keep their independence of mind. I shot 24 portraits of 13 minutes each. I have chosen this short running time for several reasons: not becoming a bother, escape tv adds cuts, shoot the movie quickly, in one pace and without too many scratches. I am not a documentaries maker. I am more like a faces, hands and things lover. To show reality is not my goal. “Reality” is just a word, just like its twin sister “fiction”, which I practice as well, but with a different delight." (Alain Cavalier)

"Since childhood, I've had the good fortune of going through two mini depressions of happiness, and I'm serenely awaiting the third. This alone is enough for me to believe in a certain beauty to life and to have the pleasure of attempting to film it in all its forms (trees, animals, gods, humans...) and to do so when love is intense. The filmmaker has lost a part of innocence. It's so difficult to spot it around you, so difficult not to lose it during a film shoot. I'm grateful to those who you look at on screen. To stand up to time, I've a tactic, which is to dig into my stock of emotions and old images. Not so as to find what will never come back, but to discover the signs of spring in winter. This allows me to begin another day with an easy, light step." (Alain Cavalier)

In a film as moving as a confession, the filmmaker portrays a veritable journey into the valley of the shadows to find Irène, his Eurydice.