Deux fois

Stylized, black and white biography of Frances Farmer by author Lynne Tillman and Sheila McLauglin.

An experimental arrangement of austerely executed but intensely hallucinatory episodes that build into a nightmarish fever of isolation and hopelessness.

Photographer Philippe Abregas teams up with a Swedish model he met in Roman high society and tells her the story of the four other girls he has chosen to feature on the cover of his magazine.

After several days without seeing Sylvie, the object of his desire again, a nameless law student becomes involved with Jacqueline, who works at the local bakery. Eventually, he has to choose when he arranges dates with both on the same day.

Bombastic, womanising art dealer Adrien and his painter friend Daniel go on holiday at a 17th-century villa on the Riviera. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a 'collector' of men.

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

A spoiled teenager spends the summer at the French Riviera with her rich, widower, playboy father, but when his old flame resurfaces, she resolves to keep her frivolous lifestyle at all costs.

A comedy about New York and its eccentric inhabitants. A French filmmaker comes to New York to show her film at MOMA. Fascinated by the city, she decides to stay.

Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d'Etoile (Rohmer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs.

Timid pharmacy student Bertrand has mixed feelings about his womanising friend Guillaume's new girlfriend, Suzanne, who financially supports her duplicitous lover.

Nadja is a guest student, who stays at Cité Universitaire and visits the Sorbonne, while preparing a thesis on Proust; she also likes to stroll about Paris.

This is the only feature directed by the famed French painter and sculptor Martial Raysse. In keeping with the revolutionary spirit of the time, the movie has no plot to speak of and appears to have been largely made up on the spot. We follow the cat man into a bizarre fantasy universe presented in negative exposure that reverses color values (black is white and vice versa) and written words. The cat man steals a car and then picks up a young girl he promises to take to “Heaven.” Heaven turns out to be a country chateau inhabited by several more animal mask wearing weirdoes...

[Here] Pollet made a work that is the very definition of what French critics like to call an ovni or ufo (as in ‘unidentified filmic object’). [It] has been described as being ‘like a comet in the sky of French cinema,’ an ‘unknown masterpiece,’ and an ‘unprecedented’ work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images – a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida – is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that [it] might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual.

Eric Rohmer directs this short documentary that narrates the presence of women in French universities as of the time of its release -- 1966. During the film's short run, the narrator continues to point out that during the advent of World War II, only 21,000 women attended college and made only a 30 % of the student body, a number that by the 1964-1965 school year had passed the 120,000 mark. Instead of opting to live according to what was expected of them, now they were joining the work force, trading in aprons for lab jackets and becoming professionals even after getting married.

When struggling pianist Michael lands a job at the legendary Continental Baths in NYC, his wife Tracy encourages him, emphasizing how special the institution is. Michael, however, struggles with his own homophobia, yet at the same time, starts developing feelings for his confident and sexually free co-worker, Scotti.

Five more-or-less distinct sections, all featuring "Freak" Orlando, a woman played by the late Magdalena Montezuma, who appears in various guises and deformities throughout.