We Won't Grow Old Together

When his young son is killed in a hit and run accident, Charles Thenier resolves to hunt down and murder the killer. By chance, Thenier makes the acquaintance of an actress, Helène Lanson, who was in the car at the time of the accident. He then meets Helène’s brother-in-law, Paul Decourt, a truly horrible individual.

Handed over to foster care by his mother—who's unwilling to give up permanent custody—the now-adolescent François understands that nothing in life is permanent, and his increasingly erratic actions reflect this knowledge.

An essay film critiquing post-war France's urban developments – Pialat states that modernity and suburban convenience have limited Parisian freedom and widened class gaps.

All of Pialat's Turkish films are uniquely interested in the country — especially Istanbul — as it was, not just as it is at the precise moment that Pialat is filming it. History informs these films in a big way, with the voiceover narration (which incorporates excerpts from various authors) introducing tension between the images of the modern-day city and the descriptions of incidents from its long and rich history. Istanbul is probably the most conventional documentary of Pialat's Turkish series, providing a general profile of the titular city, its different neighborhoods, and the different cultures and ways of living that coexist within its sprawling borders. As the other films in the series also suggest, Pialat sees Turkey, and Istanbul in particular, as a junction point between Europe and the East, between the old and the new, between history and modernity.

During World War One, in a small rural French village far away from the front, a gamekeeper and his wife take in children displaced by the war.

Fifteen-year-old Suzanne seeks refuge from a disintegrating family in a series of impulsive, promiscuous affairs. Her fulsome sexuality further ratchets up the suppressed passions of her narcissistic brother, insecure mother and brooding, authoritarian father.

Daniel lives with his grandmother and, after a year of high school, goes to live with his mother in the south of France; a harsher environment which rapidly changes his perception of friends, work, and women.

Pehlivan focuses on a three-day wrestling competition, an ancient tradition that dates back over a thousand years to the time of the Ottoman Empire, originating in the games the soldiers would play to entertain themselves in between battles. Maybe that's why there's more than a hint of homoeroticism in the way the wrestlers oil themselves up with grease, making sure to cover every inch of their bodies so that their opponents will be unable to get a grip. Pialat's closeups emphasize the men's muscular bodies jammed together and sliding off one another, posed in intimate, twisted arrangements, struggling desperately for a grip on each other's bodies. Arms are jammed down pants, one of the only places there's some potential for a handhold, and the whole thing is very suggestive and sensual, a form of intimate male contact that's sanctioned as a show of strength and masculinity.

After leaving the asylum, Vincent van Gogh settles in the home of Doctor Gachet, where he keeps painting amidst the torments of his failing mental health. He begins an affair with his host’s daughter, however, she soon realizes that he doesn’t love her and that his heart beats only for art.

Short doc by Maurice Pialat. The first film in the series set at Turkey, Bosphore, is also the only one that was shot in color.

During a desultory night on the town, two men talk about their experiences with women. One of them disparages his ex-wife, while the other is enamored of the prostitute he was with earlier in the evening. Without realizing it, both men are talking about Janine.

Monique is dying of cancer, lying in bed in the apartment above the store her family owns. Her philandering husband carries on with life, her son remains aloof, and her daughter-in-law wonders if she is witnessing her own decline. They all struggle to express, or feel, their love for one another.

Byzance uses a text by Stefan Zweig to describe the Ottoman conquest of the city in 1453. Before he turned to feature filmmaking in 1968 with Naked Childhood, Pialat worked on a series of short films, many of them financed by French television. Byzance is one of Pialat’s six Turkish shorts.

A self-centered man with many diversions occasionally visits his 4-year-old son and the boy's mother.

A slice of life of a group of young working class friends in a Northern French village coming to the end of their school years and embarking upon adult life. The film follows the choices and decisions made for their futures.

A bored wife leaves her husband for an unemployed, petty criminal.