Hotel New York

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.

This spectacular opera film was taped in 1967 and is based on the 1966 Salzburg Festival production directed by Herbert von Karajan himself, who also conducts the fabulous Vienna Philharmonic Orchestra. The production features the three greatest exponents of their respective roles at the time: Grace Bumbry’s magnificently seductive-toned Carmen, Mirella Freni’s ineffably lovely, touching Micaëla and Jon Vickers’s thrillingly manic-depressive Don José. On its release the film was hailed by Die Presse, (Vienna) as a “unique artistic event”, while Le Monde felt that Karajan’s production brought “a whole new dimension” to the opera, “combined with a magisterial interpretation”. A classical and utterly dramatic approach to probably the world's most beloved opera – Karajan’s Carmen is as much a delicacy for opera fans as it is a perfect starter for newcomers.

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.

A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men.

Early new wave effort from Rohmer, which was the first of his six moral tales. It concerns a young man who approaches a girl in the street, but after several days without seeing her again, he becomes involved with the girl in the local bakery. Eventually, he has to choose between them when he arranges dates with them on the same day.

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.

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.

In the second of Rohmer's moral tales, he examines the relationship between two friends and a girl who at first appears easily exploited. It is a complex tale of feelings and misconceptions, acted out within the head of the main character, as part of Rohmer's attempt to more easily simulate the mindscape quality of literature within a film.

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.

An indictment of the Greek military junta of 1967–1974. The film tries to give a reconstruction of the events during the students' uprising in the Athens Polytechnic (November 1973) by documents, rehearsals, interviews, songs and poems.

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.

Thirty years old, a nothing job, a timid love affair: Rémi is a little at sea in his life. Until the day when he must share it with his double, another him, invasive and not so nice. Which one will be the true Rémi?