Roland Lesaffre

A talk show presented by Michel Drucker

No description available.

When a string of jewel robberies hits the French Riviera, suspicion falls on retired thief John “The Cat” Robie. To clear his name, he sets out to trap the copycat himself—entangling a wealthy widow and her beguiling daughter in a seductive game of pursuit, deception, and desire.

Japanese counterpart to Romeo and Juliet

1944. Léon Duchemin owns a restaurant with his sister. His clients are Germans, Résistance et black marketeers. Léon unwillingly joins the Résistance when a British pilot is shot down and hides in his attic and, through a series of mishaps, he accidentally steals the plans for Hitler's V1 missiles.

The Return of Arsène Lupin (1989) is a French crime television series consisting of 12 episodes, each approximately 55 minutes long, broadcast on FR3 between November 1989 and January 1990. It features the famous gentleman thief created by Maurice Leblanc, played here by François Dunoyer, in a more mischievous and modern interpretation than his predecessors, which retains the hero's refinement and intelligence while immersing him in stories with international overtones, with a more contemporary tone for the late 1980s.

Star-crossed lovers Thérèse and Laurent think they've gotten away with murder after Thérèse's weakling husband "falls" from a speeding train. But when forced to contend with a blackmailer's demands and the mute accusations of Thérèse's mother-in-law, it's only a matter of time before the law, their passion or blind chance trips them up.

At the end of the 19th century, during a ball in Joinville, on the outskirts of Paris, Georges, a former delinquent working as a carpenter, meets Marie, a young woman connected to a criminal gang.

During World War II a young Frenchmen sees his brother killed in Alsace by a German officer. He vows revenge on all Germans, but after the War he is conscripted into the French Army and sent to Indochina. There he meets his brother's killer under strange circumstances.

After a novice nun learns of the sudden death of her parents, she leaves the convent to manage the family business and look after her teenage sister. Both of them fall prey to a womanizing mechanic with psychopathic tendencies.

A judge investigating police corruption finds that the deeper he digs, the more roadblocks he finds.

Bob Letellier, a good looking rich kid who studies science, makes the acquaintance of Alain, a cynical and immoral young man. The latter introduces him to the existentialist circles of Saint-Germain-des-Prés. Bob is invited to a party and becomes Clo's lover, a rich heiress.

When his wife leaves him, a young French actor, François Combe, moves to New York to work for a television company. One evening, he meets an attractive young woman, Kay Larsi, in a bar.

Irène is the unhappy wife of a wealthy publisher, Jacques Voisin-Larive, who cares about her no more than a beautiful piece of furniture. Her meeting with Étienne, a young cabinetmaker with whom she falls in love, turns her dismal existence upside down. Not wanting to reveal her condition to her lover, she pretends to be a modest maid, employed by the Voisin-Larive. At the end of a weekend spent with her lover, Irène discovers that she is pregnant. The fragile balance of their existence is suddenly broken. Taking the initiative, she reveals her affair to Jacques and tells him about her desire to divorce. But her husband has no intention of giving her back her freedom...

Former student Raskolnikov is pushed to murder when struggling to pay the rent on his apartment. When the murder is being investigated by the police, Raskolnikov struggles between trying to hide his guilt and the pressure to confess.

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.

A group of Italian soccer fans arrive in Paris for a match, but most of them go their separate ways to explore the sights, have a bit of an adventure, and maybe even find some romance.

In a building close to the Place de la Contrescarpe in Paris, a tale of criss‑crossings in turn romantic, gourmet, interested or mystical, between an Italian gigolo and a nightclub hostess, a family of butchers and an apprentice rocker, a mystic tailor, a writer sending himself telegrams, an alert paralytic woman, a thoughtful concierge, a bird breeder and a just‑out‑of‑jail hooligan. Little by little each one discovers each other’s more or less troubled history… when a mysterious death introduces the Police within this huis clos, hastens disclosure of well‑kept secrets and ruffle this little World.

Henri Verdier, a young bank manager, has made the acquaintance of Karine, a model of great beauty. Robert, who claims to be Karine's brother, forces Karine to introduce him to Verdier. This is to offer him an urgent business deal: 50 million for a uranium purchase which, within a few days, should yield double that amount. Blinded by passion, Verdier accepts and "withdraws" the necessary sum from his bank. He soon realizes he's been duped. Karine is not Robert's sister and Robert is a crook. Verdier tracks them down.

In Provence , Father Caillé runs a family pension backed by his daughter-in-law Cora and a maid. The old man persecutes Cora for her assiduity until the day when she, in a particularly violent confrontation, knocks him down before the eyes of Gino, an Italian pensioner of whom she is in love. The two accomplices will try to make up the murder.