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It's quite hard to succinctly review this Truffaut comedy - there is just so much going on. Essentially, Jacqueline Bisset ("Julie") is brought to Nice to star in a movie about a British woman who is married to a Frenchman. She comes to meet his family and promptly falls in love with her husband's father and so leaves him to shack up with his dad. It turns out, as the production progresses that the producer "Bertrand" (Jean Champion) and the director "Ferrand" (Truffaut himself) have to deal with an whole gamut of issues as the cast - all assembled in a small hotel - come with more baggage than the Queen Mary. "Julie" is recovering from a failed marriage and a nervous breakdown; "Séverine" (Valentina Cortese) is having an affair - but with a bottle, and Jean-Pierre Léaud steals the film as the petulant and high-maintenance "Alphonse". It reminded me a little of Fellini's "8½" from ten years earlier, another behind the scenes as a movie is made story - but it could hardly be more different. Here, the cast and the crew could not have been more dysfunctional - a trait of the creative, I believe - but in the end somehow or other there is a chance the film might actually get made! It is good fun, and the odd contribution from Jean-Pierre Aumont help keep this 2 hour extravaganza moving along entertainingly. Georges Delerue's jaunty score compliments the lovely open-ness of this production, and I really enjoyed this film.
Lonely college student Alex encounters his favorite filmmaker, JP Smith, stalking around his sleepy town in upstate NY. Together they form a precarious relationship, with Alex becoming the star of JP’s latest flick.
Imants Veide is writing a script about con artists and their schemes. Together with his friend Harijs Kuharjonoks he's trying them out for real for greater authenticity, but gets too entangled in real criminal schemes. More and more colorful characters appear on the horizon, but Imant's main adversary on the road to criminal excellency is his Neighbour, a true iron lady with balls bigger than all those involved combined.
Two brothers must go on the ultimate road trip to find the last open liquor store in the country.
Fresh out of a psychiatric hospital, Pia moves back in with her parents to get her life together. Torn between a new job, lovesickness, psychotropic drugs and social stigmatization, she emerges into a world where everything seems out of control.
That old theatrical war-horse Bella Donna (previously filmed in America by Alla Nazimova) was resurrected by Britain's Twickenham Studios in 1934. Conrad Veidt stars as sinister Egyptian Mahmoud Baroundi, who even before the film gets under way has left a long trail of ruined women behind him. His latest victim is American girl Mona Chepstow (Mary Ellis), whom Baroundi treats like dirt and makes her like it. The plot centers around a murder by poison, as evidenced by the film's deliberately exotic title. Critics in 1934 praised newcomer Mary Ellis for underplaying her role, but many film fans preferred Nazimova's arm-waving histrionics in the earlier version.
A documentary about the making of Danger: Diabolik, the final episode of Mystery Science Theater 3000's original run.
Determined not to turn into her parents, or be drawn into any relationship longer than a one night stand, Zoe constantly struggles with her failing business and love life. Then she falls in love for the first time with Paul. But there's one problem: Paul is married.
The story of the 1950s platinum-blonde sex symbol whose search for stardom and meteoric (if brief) career ended in an automobile accident when she was 36.
Paris, 1930. Luis Buñuel is penniless after the scandal surrounding the release of his last movie. Sculptor Ramón Acín, a good friend, buys a lottery ticket and promises Buñuel that he will pay for his next movie if he wins the prize.
Real zombies arrive and terrorize the crew of a zombie film being shot in an abandoned warehouse, said to be the site of military experiments on humans.