Victoire, ou la douleur des femmes

TV movie directed by Nadine Trintignant.

Colette, une femme libre is a two-part French biographical TV film directed in 2003 by Nadine Trintignant and broadcast on January 25 and February 1, 2004 on RTBF, then on April 26 and April 27, 2004 on France 2. A biography of French writer Colette, it was also the last role for Marie Trintignant, who was killed by her partner Bertrand Cantat shortly before the end of filming at the end of July 2003.

August 1939. The fate of four young people, Ramona, Georges, Brigitte and Hans is upset by the outbreak of war.

When her mother dies, a teenage girl, together with her five-year-old brother, decides to find her long-absent sailor father.

Out of prison after a five-year stretch, jewel thief Tony turns down a quick job his friend Jo offers him, until he discovers that his old girlfriend Mado has become the lover of local gangster Pierre Grutter during Tony's absence. Expanding a minor smash-and-grab into a full-scale jewel heist, Tony and his crew appear to get away clean, but their actions after the job is completed threaten the lives of everyone involved.

During a ceremony in an orthodox church in Paris, a 40-year-old writer and journalist is seduced by a young man, whom with she will live an extraordinary story of love and passion that will drive them to madness.

Barny, although a Marxist, is intrigued by the mysteries of religion. In confession, she teases a priest, Léon Morin, but he is a young and intelligent man and ready to discuss anything.

A compilation of 30 French filmmakers, Alain Resnais and Jean Luc Godard among them, who use film to make a plea on behalf of a political prisoner. Jean Luc Godard and Anne Marie Mieville's film concerns the plight of Thomas Wanggai, West Papuan activist who has since died in prison. The short films were commissioned by Amnesty International.

Eighteen years after her death, a poignant portrait of the formidable actress that was Marie Trintignant. No documentary has ever been devoted to the career of Marie Trintignant, whose tragic death at the hands of her partner unfairly overshadowed her career. In the form of a letter addressed to her daughter, Nadine Trintignant offers, eighteen years after her death, an intimate, fair and deeply moving portrait of this free-spirited and stubborn child of the ball, who, by starring alongside Patrick Deweare, Isabelle Huppert and Marcello Mastroianni, and shooting under the direction of Alain Corneau, Claude Chabrol, Pierre Salvadori and Samuel Benchetrit, left her burning imprint on cinema and theater alike. Archival footage, film and stage extracts provide a luminous account of the all-too-short life of this energetic woman, mother, actress and author.

Despite his lack of political convictions, photojournalist Bruno Forestier is roped into a paramilitary group waging a shadow war in Geneva against the Algerian independence movement.

On the Paris-Lisbon train, Marina has just accidentally killed her ‘friend’ Bruno during an argument. Rushing down the aisle, she meets Prune, who is looking for her father. The two young women hit it off and arrive in Lisbon...

An architect has an affair with a young woman who aspires to be a pop singer. She ends up pregnant but does not tell her lover about her condition as she contemplates having an abortion.

A young poster artist sees an older married woman among the audience of a Parisian movie theater and falls madly in love with her.

Edouard is patriarch of a large family: his second wife, Jeanne, has just had a baby and finally had enough of his philandering. As the marriage between them unravels, Edouard's daughters experience their own emotional shock waves. Dina, in a relationship with playwright Paul, wants more from her daily life, while Sidone is married to a fellow musician but is terrified of performing in public. Fast-forward seven years: Edouard is gravely ill, and the family shares their issues, hopes and fears.

40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes.

Wishing to find an old love that resurfaced, Juan, a Chilean diplomat, Dominique asks his friend François to act as an intermediary.