Killer Spy

Photographer Henri Barbier is lured by his old friend Barbara to fake the theft of her jewels. It turns out that he is suspected of murder and extortion, while Barbara and her lover are the culprits, which is eventually revealed.

Stanislas Dubois is the manager of a successful advertising agency. One day, he comes up against an imposing woman who foists on him a cumbersome painting by Cézanne.

Cora, the wife of a wealthy Parisian businessman, Daniel, is involved in an affair with Henri, an unscrupulous garage mechanic who has set his sights on Cora's fortune. Daniel becomes suspicious and hires a detective to investigate, but the detective is unsuccessful in pinpointing Cora's extramarital activities.

Rendez-Vous a Melbourne is the official filmed record of the 1956 Olympic Games in Australia. At the time of its release, there was much controversy in the documentary-filmmaking world over the fact that the Aussies signed over exclusive distribution rights to a French firm, resulting in a boycott from other movie companies. None of this matters when the film is seen today: though not in the same league as Leni Reifenstahl's Olympiad, this 110-minute extravaganza is consistently entertaining. Fifteen cameras were utilized to lens every aspect of the event; it was then up to editors Jean Dudrumet and Monique Lacombe to burrow through miles and miles of film to cull the highlights seen herein. Portions of Rendez-Vous a Melbourne have since resurfaced in practically every Olympics documentary -- not to mention the many TV specials attending the now-biannual event.