The Immortal One

Three episodes from the history of socialism: Babeuf, whose virulent discourse is a radical assessment of the bourgeois revolution of 1789 (Vincent Nordon episode); the legend of Napoleon I, or the formation of the state as it still dominates today (François Barat episode); and the carnage of the Paris Commune, which official history strives to repress and forget (Joël Farges episode). What does it mean to make a historical film today? It means illuminating the present in the light of the past, and therefore adopting the new modes of modern storytelling to challenge what dominates us, structures us, and oppresses us.

At a weekend gathering, a man tells a woman that they had spent time there together a year prior. But, the woman has no recollection whatsoever and is convinced that he is simply fabricating the encounter. The more he speaks about their activities the previous year however, the more compelling he becomes. The question remains however – did they meet previously or not?

The film is the book and at the same time it is not. The transposition of the work on paper to the screen is, in this case, the occupation of the conceptual artist Isidoro Valcárcel Medina. Through on-screen texts and a succession of voices that read different passages, Medina presents the filmic adaptation of Alain Robbe-Grillet's book. The novel is a tremendously optical reading of objects and landscapes made by a jealous husband who deforms and subjectivizes reality. The film objectifies the texts in the same way by putting them as they are on the screen, but so is the reading of free texts and languages ​​and associations. As the poster that the artist himself made says: “In 1957 Alain Robbe-Grillet published La Celosía. In 1972 Isidoro Valcárcel has taken it to the cinema.” A film that is an exercise on dissociation and the duration of the shot.

A detective is seeking an assassin in a murder that has not yet occurred, only to discover that it is his destiny to become that assassin.

Anthology series of half hour plays produced in BBC's Television Centre's studios.

A man may or may not have betrayed a resistance fighter during World War II. He has supposedly been shot down by the Nazis and wanders into town. Mourning the death of an unseen comrade, he is taken in by the family of the dead rebel. He engages in a superfluous affair and witnesses the lesbian relationship between the man's sister and a female servant. When passions subside, the family has doubts about the reliability of the man's story.

A movie producer, director and assistant take the Trans-Europ-Express from Paris to Antwerp. They get the idea for a movie about a drug smuggler on their train and visualize it while taping the script.

In early 1920s France, an author, lying on his deathbed, looks at various photographs and is flooded with memories of the people and events that have shaped his life.

A group of French students are drawn into the psychological and sexual games of a mysterious man called Duchemin. Once they sample his "fear powder" the students experience a series of hallucinations.

A young woman is questioned by the police and the judges, suspected of being a modern witch. The girl who shared her apartment has been found dead, and a pair of scissors impaled through her heart, as she lay attached to the bedposts. Apparently, the girl does have powers, to make all people around her fall prey to her spell, glissing progressively into desire, lust, and the unknown.

Walter is told by his boss, Sara, to deliver an urgent letter to Henri de Corinthe. On the way he finds a beautiful woman he had been eying in a nightclub, lying in the road, bound up. He takes her to a villa to get a doctor, and ends up being locked in a bedroom with her. While she is making love to him, he has visions of surrealistic images from René Magritte's paintings. In the morning, the girl, Marie-Ange, has vanished, the villa looks derelict, and his neck is bleeding. Was it all just a nightmare?

An English historian travels to Morocco to work on a study of the painter Delacroix. He hears of a rare series of engravings and embarks on a search for them that takes him through the mysterious streets of the ancient medina. He becomes obsessed with the figure of a beautiful blond woman dressed in white that he sees there. but it appears that she may have died years before.

A lighthouse guardian leads a young prince towards an imaginary world, Taxandria, where the boy learns about the power of love and the value of liberty. A totalitarian regime has forbidden time: time watches have been confiscated, photo cameras are illegal as they freeze a point in time. A typical Servais theme: a power is oppressed by a constraint that denies what is best in the individual, and therefore has to be twisted in various ways, to establish an entirely artificial world, that has rules that may question some of the rules of our world at this side of the mirror.

N Took the Dice is essentially a reworking of Eden and After made possible by the roll of a dice (scenes from the 1970 film were combined with outtakes and additional footage in an aleatory way). Robbe-Grillet was always interested in music and since he perceived Eden and After to be serial in nature, it only made sense that its sister film would stand in opposition to that.

A banker hires a seedy detective to find his daughter and keep her safe from kidnappers.

The Blue Villa is a seedy bordello on a Mediterranean island where the villages are frightened by the ghost-like return of a young man, who mysteriously disappeared after the killing of a young Eurasian woman.