Luc Moullet

In a cul-de-sac in the Faubourg-Saint-Antoine, Leon shares two rooms with his sister Marie. In one, he receives his clients: he is a tailor. In the other, Marie receives her own: she is a clairvoyant. Leon was happy until he learned what Marie was hiding from him. She is actually a prostitute, and Maxime, her supposed fiancé, is her pimp. On the same day, Leon also discovers love in the form of Arlette, a provincial young woman picked up by Marie.

Luc Moullet’s surprisingly tender look at Catherine Breillat, whose powerful explorations of female sexuality continue to divide audiences while they also gain admirers. Extraordinarily articulate, Breillat offers her own thoughts on the reactions to her films.

With little or no embellishment, filmmaker Marguerite Duras offers a simple, often wordless chronicle of a woman's day. She and her friend are seen doing yard work, talking about their families and receiving the occasional visitor. The brightest spot in the day is when a washing machine salesman comes to call.

The intense and twisted relationship between a man and a woman in a bizarre wilderness, as a seductress accompanies a gunslinger fleeing from a posse.

Portrait de groupe is a film series of filmed portraits that shows all kinds of groups gathered under family pretexts, friendly or professional, in a single fixed, wide shot (style: family photo) and silent of 3 minutes and 20 seconds.

A bicycle race is held every year in a pass of the Alps called Parpaillon. With the energy of a skillful cyclist perhaps as a great tribute to François, the mailman played by Tati in The Big Day, Moullet makes a comedy by pedaling at a pace that allows him to reinvent the possibilities of film gags.

A French man recalls his moviegoing adventures at a now defunct titular theater as a journalist for the film magazine Cahiers du Cinéma during the mid-1950s.

Moullet explores the causes and consequences of cases of mental disorders that were especially numerous in the Southern Alps.

Bananas, eggs, and tuna: three basic foodstuffs with three wildly different points of origin. Moullet begins with these on his plate but constructs his film by working backwards and finding the sources for these items and how they reach our plates. As Moullet’s investigation deepens, however, the film moves beyond the confines of a simple exploration of food origins into more political and social realms, not only relating to food but also to the medium of film.

Episodes in the lives of two country girls at school in Paris and their opinions.

A man with nothing to do all day decides to take guitar lessons. He falls for his music teacher’s flatmate who flirts with him slightly and even has the same name as the Serge Gainsbourg chanson he’s struggling to learn “Laetitia”. Not so much a passionate love story as a finely woven, laconic film about what it’s like to be just that little bit in love.

Independent Parisian doctor Annie finds herself in an emotional tangle when she tries to help single-minded HIV-positive patient Laurent and embarks on a brief affair with conceited actor Richard.

Inspired by the subject and by his wife's own phobia, Luc Moullet approaches this often-feared insect through the unique prisms of religion and sexuality in a daring essay.

Sylvain Berg, a "professional" unemployed who spends his time hiking and mountain climbing, and "model" bank employee Benoît Constant, who has just been fired and does not want his wife to find out, both find themselves in Françoise Duru's office at an employment agency. Françoise is secretly in love with Sylvain, so in order to keep him close she convinces her employer to give Sylvain a job he doesn't want, instead of Benoit who not only wants it but also has the right qualifications.

Carrying on Luc Moullets unfinished screenplay about the theft of la pénélope, a camera created by Aaton and capable of recording equally well in 35 mm and digitally, LA ROUGE ET LA NOIRE is a film in kaleidoscope form. The portrait of Aatons founder, Jean-Pierre Beauviala creator, inter alia, of the time-code and the light cameras used by the New Wave (in particular the bush camera specially designed for Jean Rouch) is centered around the basic plot introduced by two women thieves who talk as voice-overs, and whose identities will only be revealed at the end.

During the Gulf War, the paths of several groups of characters cross in France’s most desert-like region. The cast is as follows: An astrophysician who works alone with Geraldine in an observatory high in the mountains. He’d like to seduce Geraldine, but she seems to prefer the shepherd who’s been relegated to a shabby hut nearby. A group of filmmakers stuck in the middle of the countryside after their crew went on strike because lunch never turned up. A squadron of stupid soldiers who consider even the most minor incident to be proof of Saddam Hussein’s invasion of France. A maniacal geologist, oblivious of everything, who continues to search for the traces of a tectonic Big Bang in the most inaccessible places.

It’s summer, on the beach of this little town in Brittany, a man is building a sand castle. A few people watch him. We will be told the story of three of them: a boy, Jumbo, aged 9; François and his sister Zaza. All of them had to deal with the death of somebody they cherished.

A tongue-in-cheek short by Luc Moullet, filmmaker and critic. Moullet was one of Godard's early friends and collaborators at the Cahiers du cinéma.

Less and Less, Luc Moullet’s 40th film, concerns development and expansion, from 1968 to 2010, of the devices based on computers, automats, interactive terminals and others that can be found everywhere.

Jean-Claude is a student, with Didier, at the Ecole des Hautes Etudes Generales where Violaine, Didier's sister, is a professor of sociology. These young people belong to this upper-class, snobbish bourgeoisie.