Rome Is Burning: Portrait of Shirley Clarke

Intimate portrait of Abel Ferrara: the result is an eccentric road movie, with the restless film maker as a charming, shabby guide around New York by night.

Second in the documentary trilogy from mastermind Jacques Rivette, featuring a conversation between Jean Renoir and Michel Simon, who celebrate their reunion by discussing, among other things, La Chienne (1931) and Boudu Saved from Drowning (1932).

Amazing documentary shows rarely seen side of a master director. 1990 was a very good year for Martin Scorsese. After making a diverse group of films in the 80s, he reunited with Robert DeNiro for "Goodfellas" and later that year shot a segment for "New York Stories", an anthology film of three shorts by Scorsese, Woody Allen, and Francis Ford Coppola. During the editing, the French documentary series "Cinéma, de notre temps" filmed a documentary on the director, and it's a fascinating glimpse into his life, personality, and working habits as he edits his short with long-time collaborator Thelma Schoonmaker.

Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.

A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.

Four short films by four different directors dealing with the principles of modern life. "Illibatezza" (Rossellini): The hostess Anna Maria, to dissuade an aggressive suitor who prefers maternal tendencies, assumes an unscrupulous attitude, obeying the suggestions of her distant boyfriend. "The New World" (Godard): The deflagration of an atomic bomb causes strange effects on the inhabitants of a city. "La ricotta" (Pasolini): During the filming of a film about a religious subject, the extra Stracci dies hanging on the cross due to an indigestion of ricotta. "Il pollo spante" (Gregoretti): While an expert illustrates to a board of merchants the most modern techniques to increase sales through the discovery of the secret self of the average consumer, the human story of a bourgeois who, following these suggestions, focuses on the purchase of a plot of land in the countryside.

The supremely world-weary Lemmy Caution, last seen in Godard's "Alphaville" (France/1965), has several strange encounters while trying to make his way from the former East Germany to "the west."

Janine Bazin and André Labarthe approached Chantal Akerman about making a film for the series; eagerly, Akerman proposed a number of filmmakers—but all had already been done. So she suggested…“How about me?” Akerman creates a fascinating self-portrait that takes us through her career, aided by critics Emmanuel Burdeau and Jean Narboni and filmmaker Luc Moullet.

This film of interviews with the film director Jacques Rivette was produced in collaboration with Serge Daney, film critic from “Cahiers du cinéma”, then of “Liberation”. In the course of their conversations, the two speakers discuss Rivette’s career, his relationships with the other film makers of the new wave, his use of “mise en scene” and his working with actors.

A troubled marriage is tested by the couple's involvement in a theatrical production of Racine’s Andromaque.

In 1985, former oil rig worker Richard Linklater began a film screening society in Austin, Texas, that aimed to show classic art-house and experimental films to a budding community of cinephiles. Eventually incorporating as a nonprofit, the newly branded Austin Film Society raised enough money to fly in their first out-of-town filmmaker: James Benning. Accepting the invitation, Benning met Linklater and the two began to develop a personal and intellectual bond, leading to many future encounters. Starting in the 1960s, Benning had been creating low budget films mostly on his own, while Linklater had just begun to craft his first shorts. The filmmakers have remained close even as their careers have diverged. After the cult success of Slacker, Linklater went on to make films with Hollywood support. Benning, meanwhile, has stayed close to his roots and is mainly an unknown figure in mainstream film culture.

Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.

After leaving France in search of a better life in America, a television producer returns with a group of burlesque dancers to take the Paris club scene by storm.

A famous French filmmaker is hired by a major Hollywood producer to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.

Five, even six, variations on a theme, commentary and interpretation of the same photograph. An exercise to tell and summarize the history of the Cinémathèque française.