Daniel Schmid

A talk show presented by Michel Drucker

Marcello Mastroianni, Isabelle Adjani, Alain Delon, Martin Scorsese, Woody Allen... the biggest stars in cinema were welcomed by Christian Defaye on his show Spécial cinéma. Between intimate confessions from actors and immersion in the world of the greatest filmmakers, Christian Defaye took viewers on a journey into the fascinating world of cinema for nearly thirty years.

Tom Ripley, an American who deals in forged art, is slighted at an auction in Hamburg by picture framer Jonathan Zimmerman. When Ripley is asked by gangster Raoul Minot to kill a rival, he suggests Zimmerman, and the two, exploiting Zimmerman's terminal illness, coerce him into being a hitman.

Hans is a street fruit peddler and born loser. His choice of career upsets his bourgeois family, causing him to turn to drinking and violence. After recovering from a debilitating heart attack, his business finally begins to take off. However, the more he becomes a credit to his family, the more depressed he becomes.

The story of a German singer named Willie, who while working in Switzerland, falls in love with a Jewish composer named Robert, whose family is helping people to flee from the Nazis. Robert’s family is skeptical of Willie, thinking she could be a Nazi as she becomes famous for singing the song “Lili Marleen”.

A former hero of the French anti-Nazi resistance is approached by old comrades to lead a financially struggling liberal newspaper. Initially reluctant, she takes on the challenge, mortgaging her house to keep it afloat. As conservative forces intensify their opposition, she is eventually forced to sell the paper, seeing it as a personal failure.

Set amid the European community in an unspecified North African country, a colony on the verge of nationalism just before the war. And colonized is what happens to a French diplomat, Julien Rochelle, when he meets the mysterious beauty Clothilde de Watteville. Schmid 's favorite axiom, that love is projection, never had such a thorough airing. Is Clothilde really the wife of a French official now holed up in Siberia? Or is she Hecate, goddess of black magic and devourer of the Arab boys she meets far from the European quarter? Only our projections know for sure; for the rest, she is a "woman looking out into the night." Drawn from a novel by Paul Morand, who based the main character on his wife Helene, Schmid's film achieves an atmosphere of magic in which psychological credibility is not so much absent as irrelevant-a film that distances itself from the drama it invokes, perhaps as the elusive Clothilde turns her back on the madness she provokes.

In Japanese theater, women's roles are traditionally played by men. The man playing the woman's role, the Onnagata, does not imitate the woman, as in the West, but tries to capture her significance. He need not stick close to his model, but draws far more from his own identity - a shift of value takes place, which is nonetheless not a step beyond. THE WRITTEN FACE is an attempt to offer an insight into the Japanese Kabuki star Tamasaburo Bando, one of the last defenders of this ancient and disappearing performing tradition.

The work of legendary actor François Simon, son of Michel Simon.

The formerly great Swiss hotel which Valentin’s family owned when he was a boy has been emptied and is about to be torn down. He revisits the magical site’s empty halls and ballrooms.

A naive girl's love for Switzerland is put to the test in this satiric comedy. Irina is a woman from Russia who all her life has always been fascinated by Switzerland and longs to live there some day, though her notion of Swiss life has more to do with Heidi and old movies set in the Alps than reality.

A journalist is assigned to interview an eccentric anthropologist who has exhumed the skeleton of Jörg Jenatsch, a revered freedom fighter who was mysteriously murdered in 1639. Initially disinterested, the journalist begins to uncover unflattering truths about the national hero and experiences visions in which he seems to be witnessing events that transpired over 300 years ago. As he obsessively pursues the investigation, his personal life and his grip on reality disintegrate, drawing him relentlessly toward the fatal carnival at which Jenatsch was killed.

A young man raises the dead in a high valley where the power is held by Violanta.

Nightclub singer La Paloma succumbs to the persistent courting of a chubby, rich admirer and marries him. Before the marriage, she was thought to be dying, but soon she is well. She believes her husband's love has cured her, but her efforts to love him begin to fade as she discovers true love with her husband's old school friend.

Roberte, 40, resistant during the war, Calvinist and anticlerical, is deputy to the chamber and inspector of Censorship. She married Octave, an old Catholic aesthete, professor of canon law, whom she saves from impeachment for collaboration during the war. He submits his wife to a perverse custom: the laws of hospitality or prostitution of the wife by the husband.

Beautiful, detached, laconic, consumptive Lily Brest is a streetwalker with few clients. She loves her idle boyfriend, Raoul, who gambles away what little she earns. The town's power broker, called the rich Jew, discovers she is a good listener, so she's soon busy. Raoul imagines grotesque sex scenes between Lily and the Jew; he leaves her for a man. Her parents, a bitter Fascist who is a cabaret singer in drag and her wheelchair-bound mother, offer no refuge. Even though all have a philosophical bent, the other whores reject Lily because she tolerates everyone, including men. She tires of her lonely life and looks for a way out. Even that act serves the local corrupt powers.

When Barbe-bleue loses his fifth wife, the turbulent Boulotte is selected at random to be the next one. But Barbe-Bleue falls in love with Hermia – who loves the shepherd Saphir – and soon wearies of Boulotte. So, he asks his alchemist to concoct for him an “anti-wife” philtre. But, as on the previous occasions, it is merely a sleeping potion and Boulotte wakes up the other five “dead” wives. They reappear, dressed up as gypsies and bring the truth to light.

A woman goes to Cannes and, lost in its chaos and unable to obtain tickets, ends up watching it on television from her hotel room.

Reflected in an artificial and bombastically staged illusory world with Wagnerian compositions, glossy and satirical time references, 19th century German figures and traditions are stripped of their mythology and interpreted by the Germany of 1972.

When director Daniel Schmid grew up, his parents ran a hotel in the Alps, and this singular setting was to influence his film. Rather by coincidence, he came to Berlin in the early 1960s and became part of the new German wave. Schmid worked with, among others, Wenders and Fassbinder, for example, as an actor in Wender’s The American Friend. He met Ingrid Caven, who was to play a diva in several of his films. This is a documentation of a part of modern European film history and a good analysis of artistry and how it corresponds to the individual behind the camera. A wealth of archival footage brings us close to many directors and actors in Schmid’s circle. If you’ve never seen a Daniel Schmid film, you are sure to want to after watching this portrait of his life.