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In MASCULIN FEMININ, shot in the autumn of 1965, Jean-Luc Godard studies the perennial features of courtship and dating between young men and young women, and the particular way they worked out in the newly permissive and economically booming society of 1960s France. Paul (Jean-Pierre Léaud) is 21 and has just finished his national service. In a café, he strikes up a conversation with Madeleine (Chantal Goya), a friend of a friend, with the pretext that she might help him find work. They start dating, and the film then tracks their rocky relationship, where Paul is frustrated as the sole man among Madeleine and her flatmates/girlfriends Elisabeth (Marlène Jobert) and Catherine-Isabelle (Catherine-Isabelle Duport). He occasionally meets up with his chum Robert (Michel Debord), just as young but already a passionate union activist. But really, this is a lot more than a study in boy meets girl. Godard gives us a whole bucket of 1960s social, political, and cultural themes. Paul and Robert are both passionate members of the French Left, while the girls are more interested in the other side of the ideological divide, namely consumer society (pop music, clothes, cars). Their conversations reveal Godard's own unease at how the world was developing in the 1960s, his fears of political repression, dizzying technological progress, and a working class who had no time to enjoy all the stuff it could now buy. At several points in the film, the main characters overhear conversations in public places that are completely over-the-top in terms of sex and violence, but which reveal some of the tensions in society. In fact, in one of the film's most striking scenes, Godard without warning has Leáud interview a real young woman (Elsa Leroy) who had recently won a fashion magazine's "girl of the year" award, asking her about politics, war, and what she wants from life. In this six-minute scene where only she is visible on camera, clearly put on the spot, she seems totally oblivious to the war in Vietnam and other great issues of the day. Your reviewer is quite a passionate armchair historian about 1960s youth culture in Europe, and like many other books and films, MASCULIN FEMININ shows that many of the issues of the day are still very relevant for us in the new millennium. For this film, Godard's usual cameraman Raoul Coutard was unavailable, so he brought in Willy Kurant. While the two reportedly quarreled during the production, Kurant pulls off some remarkable long takes, again elevating a boy-meets-girl or boy-and-girl-have-rocky-relationship story into a delight for the eye. The use of sound (live sound from the cafés in which they shot, the occasional peal of gunfire) is also distinctive. MASCULIN FEMININ is perhaps less raved about than other Godard films from this time. It can arguably be called a minor effort in its recycling many elements from earlier productions while still searching for a way forward. That recycling isn't a bad thing, however, as the use of formal elements (division into tableau, a brutally abrupt ending) from Vivre sa vie, for instance (not to mention other earlier efforts), works just as well in the context of this story. I was initially baffled by the ending and how the film led up to it, but the more I look back at it, the more I'm impressed.
Riny (Biju Menon) is the right hand man of jeweller Lolappan (Innocent). He is extremely selfish and doesn't worry about the consequences of his actions as long as it contributes to his growth. He becomes estranged even with his family, but despite this, his rise up through the ranks continue.
When a handsome neighbor moves in across the street, a single woman trying to escape her past in the new subdivision believes she has witnessed her new neighbor committing a grisly murder. Unfortunately, nobody believes her. She is then forced to face her dark past head-on in a story full of twists, turns, and shocking revelations.
An opulent beach resort provides a scenic background to this amusing whodunit as Poirot attempts to uncover the nefarious evildoer behind the strangling of a notorious stage star.
Paris, France, during the First World War. While thousands of soldiers die every day on the battlefields, Henri Landru, a seemingly respectable furniture dealer, married and father of four children, relentlessly feeds his own sinister factory of death.
Danton and Robespierre were close friends and fought together in the French Revolution, but by 1793 Robespierre was France's ruler, determined to wipe out opposition with a series of mass executions that became known as the Reign of Terror. Danton, well known as a spokesman of the people, had been living in relative solitude in the French countryside, but he returned to Paris to challenge Robespierre's violent rule and call for the people to demand their rights. Robespierre, however, could not accept such a challenge, even from a friend and colleague, and he blocked out a plan for the capture and execution of Danton and his allies.
The encounters of two people who run into each other on several occasions under circumstances ranging from friendly to hostile to loving. Along many years and countless run-ins, the two despise each other, befriend each other, and fall in love with each other—in no particular order.
Following a robbery in a circus, a young mobster, Jean, is arrested by Inspector Borelli. The thug denies involvement. To compel him to sign a full confession, Inspector Muller encourages the suspect to get married for - he says - to move the jury. This being done, he lets Jean believe that he can spend a moment alone with his wife; but then, Inspector Borelli blackmails him: "If you sign your confession, you can spend a moment with her." After being beaten, Jean signs a confession. It is then that a new blackmail intervenes: "the name of the accomplice?", asks the inspector. But the thug refuses to denounce the latter and ends up refusing the bargain dupes. While the guards drive him back to prison, his wife cuts his veins, breaking the career of the bad policeman.
When a young woman investigates her town's Nazi past, the community turns against her.
Ambitious Emma Eckhert successfully makes her way into a world previously reserved for men: that of high finance. She quickly becomes popular with small savers, but leads a scandalous life that will cost her.
The wife of an abusive criminal finds solace in the arms of a kind regular guest in her husband's restaurant.
After a group of friends graduate from Delhi University, they listlessly haunt their old campus, until a British filmmaker casts them in a film she's making about freedom fighters under British rule. Although the group is largely apolitical, the tragic death of a friend owing to local government corruption awakens their patriotism. Inspired by the freedom fighters they represent in the film, the friends collectively decide to avenge the killing.