When Catherine is caught with her illicit lover by her father-in-law Paul, the concerned father leaves to tell his son Thomas about the incident. Paul is injured in an auto accident and returns home in a wheelchair unable to speak. Catherine's guilt weighs heavily on her as she hopes to never let Thomas know she was unfaithful. She panics and seeks a way to eliminate Paul in this psychological thriller.

Arsène Baudu and Hyacinthe, a pair of small-time crooks, fall prey to Alexandre Larsan-Bellac, who involves them (against their will) in high-profile swindling, but their success is quite limited. For starters they are deceived by Mrs. Paterson, a charming widow. Later on, Ribeiro, a Portuguese contractor and former victim of the two crooks, traces them and forces them to work on one of his building sites for damages. Just then, Larsan-Bellac resurfaces with plans to lure Ribeiro once again. —Guy Bellinger

In the newspaper he has just founded, journalist Dolannes exposes all the wheeling and dealing and scandals that go on in his town.

1985 film by Claude Zidi

Martial Perrin is the president of a right-wing political party which is gearing itself up for a forthcoming election. When he learns that a notorious criminal named Kraus has escaped from prison, Perrin panics and goes into hiding. His deputy, Constant, hires Perrin’s cousin, Gilbert, an actor who is a perfect double of Perrin, to replace him. What Gilbert does no know is that the killer Kraus is bumping off the people who were implicated in the affair for which he was arrested, and that Perrin is next on his list.

Here we find a group of misfits who've given up on humanity and have decided to dwell below the pavement. The group has its own hierarchy, of course, and soon the conditions that drove them underground begin to manifest themselves without the influences of the Outside World.

Jockey Jack has a bill open with a gangster just released from jail. He somehow manages to parry the gangster's knife attack backstage at a theatre and the latter ends up dead being put into a double bass case. A day later the gangster mysteriously has disappeared, but it turns out that he was carrying a bet ticket for a horse race now worth over a million. A turbulent run for the money begins.

2004 film by Hervé Palud

Max and Riton, 2 thieves make plan to steal money in a train station office. They will operate through the wall in the public toilets.

On October 9th, 1963, at 10:39 pm, 260 million cubic meters of rock fell down from Mount Toc to the artificial lake formed by the Vajont dam, the higher dam in the world. The landslide formed a 250-meters wave and 50 million cubic meters of water completely destroied all the below towns, killing more than 2000 people. Planned by engineer Semenza, Vajont dam (263 meters) had to carry the electricity in all the houses of the country. Tina Merlin, a journalist from 'L'Unitá', tried for years to denounce the danger to build a dam near the Mount Toc and expecially to denounce all the omissions by the corrupted politicians and workers in charge of the dam construction. They preferred to trust in old geologist Dal Piaz instead to hear engineer Semenza young son's alarming analysis. No one seemed to understand the high danger until that October fatal night.

Four guys working for a small grocer in trouble, declare war on a new giant neighborhood supermarket by attempting several coups. A film about the big store taking over the business of smaller stores.

Selon "Radio plus près de Dieu", rien n'est conçu sans Dieu, surtout pas les shampoings, produits de beauté, la vente des disques... Un animateur dénonce cette escroquerie à l'antenne, ce qui lui vaut d'être licencié. Il réapparaîtra sur de nouvelles ondes avec "Radio plus près de la Vérité".

Paul Martin is the subservient brown-nosing youngster who needs quick advancement up the hierarchy to pay for the modern lifestyle he is buying on credit. Seeing that marrying his immediate superior's daughter will not get him the results he wants, he begins plotting the demise of the head of the company. The company itself specializes in holiday travel and unscrupulously brutalizes its customers for maximum profit, spending more thought on publicity gimmicks than customer service...

In ancient Rome, a simple pepboy for chars becomes involved in a coup against Cesar. Rahatlocum is a North African Roman colony where Julius Caesar came to spend an expensive holiday. The revolt rumbles among the locals who find a leader in the person of Ben-Hur Marcel.

L'arbitre Maurice Bruno siffle un penalty faisant perdre l'équipe locale. Consternation des supporters du cru. De chantages en traque effrénée, l'embrasement collectif, aveugle et meurtrier déferle sur la ville.

Third and final version of the La Cage aux Folles series has Renato's drag queen lover Albin learning that he can inherit a vast fortune from a distant relative. But the catch is that Albin must marry (a woman) and produce a heir within a year or the whole inheritance will be forfeited.

Lady M. wades every morning through the sea in order to heal her pain. But she is not what she pretends to be: Together with her partner Pompilius she finances her luxurious life by fraud and blackmailing. Falling in love with young Lambert she is about to break up all her pretendence as Pompilius is not willing to accept the youngster.

In a move to make his partner, Renato, jealous, the flamboyant Albin waits in a local cafe - dressed as a woman - hoping to be picked up. But Albin gets more than he bargains for when the fly he catches in his web is actually a spy, who uses him as an unwitting courier of secret microfilm. Now on the run from ruthless agents, Albin and Renato flee to Italy where they attempt to hide out on a farm, with Albin posing as Renato's wife. Can Albin escape the deadly pursuit of these relentless spies or does he have to sustain this charade - as a woman - forever?

本片是一部关于音乐家安东尼奥·维瓦尔第早期生活的传记片。主要讲述了年轻时身为神父的维瓦尔第，去一所专门收留妓女私生女的学校担任音乐老师的故事。

In this exemplary adaptation of a Georges Simenon novel, director Claude Chabrol creates possibly his darkest and most introspective work, in which he explores some of his favourite themes – most notably the idea of a deadly threat hiding beneath a mask of bourgeois respectability. The film is set in a small Breton village where it appears to rain continually and where the hours of night appear to outnumber those of daylight quite substantially. This claustrophobic location lends the film an oppressive, suffocating atmosphere, which is strikingly evocative of the mood of Simenon’s novels. A streak of the driest black comedy permeates the film, making it both oddly amusing and intensely disturbing, a quite different tone to most of Chabrol’s other thrillers.
The drama revolves around two men – a hat-maker and a tailor – who live opposite each other but who appear to inhabit totally different worlds. Each man is, in his own way, a prisoner of his own making – the hat-maker is forced to live alone in order to conceal the fact that he killed his wife; the tailor is stifled by the large family who lives with him in his confined house. Each man secretly envies the other, and so a sinister attraction begins to draw them together – with ultimately tragic consequences for both of them. Chabrol’s mastery of the psychological thriller genre enables him to tell this story effectively, using deceptively simple cinematography and surprisingly very little dialogue. Towards that end, he is admirably served by his lead actors, Michel Serrault and Charles Aznavour.
In a career spanning fifty years, Michel Serrault has acquired a reputation as one of France’s most versatile and talented character actors. In Les Fantômes du chapelier, he gives one of his most distinctive and memorable performances – indeed it could be said that it his portrayal of the hat-maker Labbé which carries the film and contributes most to it its poignancy and quirky comic slant. Serrault shows an extraordinary ability when it comes to playing characters who are either mad or bad: whilst he manages to frighten, he is also able to arouse sympathy. This is readily apparent in his performance of the hat-maker in this film – even when he is murdering his victims, you cannot help having more sympathy for him than for the women he is disposing of (with an ease which is more comical than shocking). As the film develops, we are drawn further and further into the hat-maker’s troubled world – rather like the tailor who observes him from across the street – and what we are most struck by his not so much his dangerous insanity but rather his tortured humanity. Without an actor of Serrault’s calibre, it is unlikely that Chabrol could have achieved this level of sophistication and depth.
Whilst the film is mostly focused on the hat-maker, the tailor also plays an important part in the film, and Charles Aznavour (in another fine performance) allows the character to function brilliantly alongside Serrault’s hat-maker. Perhaps the most important role of the tailor is to provide a kind of psychological bridge which enables the spectator to cross over into the hat-maker’s world. The idea of a voyeur spying on another world is a device Chabrol has used a number of times previously (most effectively in his 1962 film L’Oeil du malin ), but here it is crucial to the film’s development. The tailor also serves as a contrast with the hat-maker – one is well-mannered yet a perpetual outsider; the other is irritable yet an accepted member of the community. Although one man lives alone and the other in a large family, both experience a terrible solitude which leads them inexorably towards self-destruction. There are perhaps as many similarities as differences, which leads us to make some interesting speculations. Could the tailor and the hat-maker be two facets of the same individual? Or could the tailor merely be a projection of the hat-maker’s own conscience? One of the most beautiful aspects of Chabrol’s cinema is its subtle sense of ambiguity, which implies – possibly – that nothing is quite what it seems. What you see depends on who you are and where you happen to be standing – much as it does in real life. Can there ever be such a thing as an objective reality in Claude Chabrol’s universe?
Compared with some of Chabrol’s other thrillers, Les Fantômes du chapelier must appear strangely minimalist. It is certainly sparse on dialogue and the film’s dramatic moments are heavily downplayed. Chabrol’s intention is not to create a suspense thriller – that much is evident. Instead, what he offers is a palpably chilling study of a man who is driven – perhaps by the noblest of motives – to murder his crippled wife and who – alone, afraid and guilt-stricken – is drawn further and further into insanity. By keeping the traditional thriller elements to the minimum and by leaving it to the camera and setting to say far more than his actors, Chabrol manages to construct one of his most tragically poignant portraits of human fallibility.