Jacqueline Pierreux

Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.

Three tales of supernatural horror include a woman plagued by threatening phone calls, a family targeted by vampiric monsters, and a deceased medium who wreaks havoc upon the living.

Paris, 1933. The daughter of a respectable lower middle class couple, Violette Nozière, leads a disreputable double life. Far from being the innocent 18-year-old her parents mistake her for, she spends her nights with dissolute young men in the less salubrious areas of the city.

Véronique Lanier runs one of the most highly rated haute couture houses in Paris. Her first partner is her husband Pierre, who has left aside a promising artist career to design the styles which make their firm a success. The trouble is that Véronique lives only for her job and does not allow herself -and her husband for that matter - a moment's respite. In Cannes, Pierre meets Wanda, a young singer with strange, fascinating eyes. The frustrated husband falls for her but gradually realizes that the light mercurial creature cannot possibly fulfill him. Véronique, feeling miserable, understands she is on the wrong track. She promises Pierre that she will make efforts to reconcile work and married life. Véronique and Pierre will live and work together again, each one forgiving the other for their faults.

Paris at the Belle Epoque. Monsieur de Pontagnac, a perfect honest man, loves pretty women too much and that plays him many tricks. What need does he have to follow the pretty Lucienne Vatelin, home, to find himself in the presence of the husband, the notary Vatelin, who is part of his circle? From there, many characters will meet, avoid each other, find each other. Adultery, domestic scenes and reconciliation will be their lot.

A traveller is stuck in an unknown town because his connecting train will only arrive in six hours. He decides to kill time by taking a stroll. He is not prepared to get confused with somebody else. In fact the citizens are eagerly awaiting the visit of a famous man and the clueless traveller is his doppelgänger. Soon he experiences what that means.

The finding of a wallet with a lot of money is the common theme of four stories, featuring a shoeshine from Seville, a clerk from Salamanca, a bullfighter from Cuenca and a newspapers seller from Paris.

Charming, charming but unstable, Rudy is married to Lydia. He dreams of becoming a famous painter. His father-in-law offers him a contract: if he stays in the same job for at least two months, he can devote himself to painting. Under the name of his friend Ravot, Rudy is hired to teach gymnastics at a girls' college. Things soon get complicated. The jealous Lydia, who plays student, keeps an eye on her husband. The headmistress glares at him, and the arrival of the real Mme Ravot doesn't help matters. The contract is almost not honored, but as in the best comedies, everything works out.

The Gangster Macheath secretly marries the daughter of beggar king Peachum. When Peachum finds out, he instructs the police chief Brown to arrest and hang Macheath. If not, all the beggars of Soho will disturb the upcoming coronation.

A valuable painting has been stolen from an art gallery in Paris.. On a train travelling between Paris and Rome, Zutra, a mysterious and sinister character, tries to find the stolen painting.

The bullfight is about to begin. On the bill are announced the toreros Ricardo Puente, Juan Carmona and Rondeño II, who will take the alternative. Puente is an old bullfighter, famous in earlier times, who, now bitter and full of resentment, lives with Paloma, a woman who is not resigned to continue being the lover of a man who has fallen into oblivion. Carmona, the fashionable bullfighter, has an important contract to fight in America, but his wife Isabel wants him to reject the offer. Anamaría, Carmona's sister, hopes that her brother will approve her relationship with Rondeño II; but Carmona opposes because he considers him a bad bullfighter. In a fourth, hopeful and exciting plot, a young amateur bullfighter has a plan to sneak into the ring and fight a bull, hoping for public acclaim for his feat of bravery.

In the studio where the famous director Eric Von Berg reigns, Pierre Vanier, the male star of the film and the lover of Berg's muse, dies while rehearsing a scene. Over the course of a tangled investigation, the culprit is unmasked. This honest dresser is the adoptive mother of Vanier's wife, too unhappy with such a husband. The inspector, moved, concludes a suicide.

A man assists his gravely ill wife to die and wants to face justice for this, but his brothers try everything to keep the family's name clean.

No description available.

On the run from international police, Special Agent Lemmy Caution arrives in the South of France and soon becomes embroiled in a scheme with the infamous gangster Siegella. Whilst seeming to co-operate with the underworld boss, Lemmy is secretly acting for the FBI, and intends using Miranda Van Zelden, a wealthy heiress, as bait to trap a gang of crooks and put an end to Siegella's exploits...

At sea, sailors have got to make do with what they have. François is in love with.... the figurehead, the bust of a gorgeous woman.

After their boss' death, two clerks eagerly await the arrival of the next one, each one of them hoping to become the apple of his eye. They compete in every possible way to impress him, which causes lots of trouble and many misunderstandings.

OSS 117 is asked for help by a female acquaintance Muriel Rousset. She beseeches him to retrieve secret documents which have been stolen from Sir Anthony Lead, the father of Anita and Marion. He complies with her wish and no obstacle or danger can hinder him from meeting her expectations.

Diavalo is the popular hero of French serials circa 1912. Diana is an actress who falls in love with Diavalo. Diavalo is forced to wear a series of disguises to elude the police so he can attend a Gala for the President.

Julien Pauphilat is the doorman at the famous restaurant, Maxim's and is also the confidant of many of his customers. As a consequence, in this post, he has managed to make a comfortable living and even acquire a country mansion. Retirement beckons and he is going to be able to enjoy the quiet life at last. The wedding of his daughter, Genevieve with Andre du Velin, a well born playboy is going to endanger this dream, for Genevieve is ignorant of her father's job. However, her fiance doesn't see any problem with this.