Jackie Raynal

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.

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.

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

A series of disconnected, minimalist vignettes often featuring Raynal herself, deliberately repeating actions and dialogue to challenge traditional storytelling. The film explicitly seeks to deconstruct cinematic meaning and the conventional portrayal of women in film, serving as a radical, self-aware diary film.

A genuine performance film as Bernadette Laffont and Bulle Ogier engage, with reckless abandon, in a flurry of senseless destruction in a house at night. Somewhere between a hallucination and a nightmare. Both the explosive soundtrack and narration that accompanies the mayhem was provided by François Tusques.

Mr. Devereaux is a powerful man. A man who handles billions of dollars every day. A man who controls the economic fate of nations. A man driven by a frenzied and unbridled sexual hunger. A man who dreamed of saving the world and who cannot save himself. A terrified man. A lost man.

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

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.

After debuting in 1983 with Casta Diva, Eric de Kuyper immediately made Naughty Boys in 1984, a film that he himself described as “a sad musical comedy” in which he pays homage to the old musicals and comedies. The film is set in an unspecified time, somewhere between both World Wars in a large English country house. Six gentlemen in dinner jackets try to maintain the atmosphere of a party that has just ended. Naughty Boys was the second film De Kuyper made with friends and students, but here for the first time they were joined by a “professional” actress, Linda Polan.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

A series of 43 documentary shorts, directed (without credit) by several famous French filmmakers and each running between two and four minutes. Each "tract" espouses a leftist political viewpoint through the filmed depiction of real-life events, including workers' strikes and the events of Paris in May '68.

[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.

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...

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.

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.

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.

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.

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.

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.

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.