Edith Scob Movies

As a Parisian petrochemical company forges on into the 21st century, the in-house human resources psychologist leads a probe that proves the ghosts of the previous century still hold sway over current events in director Nicolas Klotz's labyrinthine drama. Simon (Mathieu Amalric) is a human resources worker who has spent the last seven years working at the Paris branch of a powerful German-based company called SC Farb. In addition to assessing the hiring and firing practices of the company, Simon was also charged with the task of conducting motivational workshops. When Assistant Director Karl Rose (Jean-Pierre Kalfon) implores Simon to conduct a clandestine assessment of firm director Mathias Jüst's (Michael Lonsdale) mental health after rumors of erratic behavior begin to circulate in the German head office, the shrewd human resources worker forms a factory orchestra as a means of stealthily gauging the stability of his violin-playing subject. Later, a comprehensive investigation of company archives and anonymous letters begin to snake ominously back in time to the darkest days of World War II. ~ Jason Buchanan, All Movie Guide

Time takes the most painful toll of all on a man confined to a home for the aged in this short drama from writer and director Olivier Bouffard. Paul (Michael Lonsdale) is an elderly man who is slowly falling victim to the ravages of senility. While Paul was once loved by his son and grandchildren, his wildly unpredictable behavior makes him difficult to deal with, and though his family still visits him on occasion, they appear to do so out of a sense of obligation rather than a genuine desire to spend time with him. Adding to Paul's sorrows is the unfortunate fact he's outlived many of his friends, while his surviving contemporaries no longer stay in touch. Ce Que Je Vous Dois (aka What I Owe You) was screened in competition at the 2007 Rotterdam International Film Festival. ~ Mark Deming, All Movie Guide

Master filmmaker Raúl Ruiz adds a black comedy to his far-reaching body of work with That Day, a playful meditation on money, death, and false spirituality. Livia (Elsa Zylberstein) and Pointpoirot (Bernard Girardeau) are, respectively, a spoiled society woman who suffers from delusional visions of heavenly apparitions and a crazed serial killer on the loose after a successful prison break. It isn't long before fate brings the two together, and after thwarting Pointpoirot's initial attempts to murder her, Livia soon warms to the charming sociopath. The duo makes short work of Livia's greedy family -- who were planning on killing her and collecting her fortune, anyway -- and as the death count rises, a romance develops between the two. ~ Michael Hastings, All Movie Guide

Two men from two different walks of life develop an unexpected friendship in French director Patrice Leconte's 2002 comedy-drama The Man on the Train. Weary from his trip and in anticipation of the heist he's about to perform, Milan (French rock star Johnny Hallyday) steps off the train after arriving in the small town where he's to meet his co-conspirators and heads straight to the town pharmacy. After accidentally buying the wrong product, Milan makes the acquaintance of retired teacher Manesquier (Jean Rochefort), who offers to help the traveler and then promptly begins talking ad nauseum. Milan, after paying partial attention to the old man's ramblings, excuses himself to find accommodations -- only to run into Manesquier once more after learning that the hotel has closed for the night. As the two men talk, they develop a respect for one another, as well as a secret longing to live the type of lifestyle the other man lives based on the desire to escape their own. The Man on the Train gained positive notice after being selected for competition in the 2002 Venice Film Festival, as well as for the 2002 Toronto Film Festival. ~ Ryan Shriver, All Movie Guide

Vidocq (1775-1857) was a noted French detective who was one of the great trailblazers of modern criminal investigation; he's been credited with establishing the first private investigation firm, and pioneered a number of scientific techniques that are still being used today. Vidocq was also a master of disguise and a former thief with no small sense of adventure, and his exploits have been fodder for a number of novels, plays, and motion pictures in France; Vidocq is a high-tech retooling of his legend that employs cutting-edge digital technology to bring a new visual dazzle to his story. Vidocq (Gerard Depardieu) dies an unexpected death while battling his arch-nemesis the Alchemist, and Boisset (Guillaume Canet), an opportunistic journalist, sets out to write his life story, convincing Nimier (Moussa Maaskri), Vidocq's partner, that he had made arrangements with the great man himself to collaborate on such a book before his death. Boisset begins interviewing Vidocq's cohorts, but it seems someone is following the reporter, as his interview subjects have a habit of dying sudden and violent deaths shortly after sharing their stories. As it turns out, the deaths are tied into a case Vidocq investigated, in which a number of people were killed by lightning -- lightning that was conjured up by none other than the Alchemist. Shot on high-definition digital video equipment to allow special effects artists greater latitude to manipulate the images, Vidocq also features Ines Sastre, Andre Dussollier, and Edith Scob. ~ Mark Deming, All Movie Guide

A woman begins to wonder if her young son is who she thinks he is in this psychological suspense story. Ariane and Pierre (Isabelle Huppert and Denis Podalydes) are the busy parents of a nine-year-old son, Camille (Nils Hugon). Camille feels neglected by his hard-working mom and dad and often seems to drift into a world of his own, preferring his imaginary friends to other children or his nanny Helene (Laure de Clermont-Tonnerre). One day, Camille startles Ariane by announcing he wants to live with his real mother -- and proceeds to lead her to an apartment across town, where Ariane is introduced to a stranger named Isabella (Jeanne Balibar). Camille seems to know all the nooks and crannies of Isabella's flat, and the latter insists that he is her lost son Paul, who actually drowned two years ago. Unsure of what to do, Ariane decides to play along, going so far as to allow Isabella to stay in the family's home as she tries to resolve Camille's dilemma with the help of her brother Serge (Charles Berling), a psychiatrist. Comedie de L'Innocence is based on a novel by Massimo Bontempelli and was directed by acclaimed Chilean filmmaker Raul Ruiz. ~ Mark Deming, All Movie Guide

Maverick auteur Andrzej Zulawski directs this flamboyant adaptation of classic French novel La Princesse de Cleves, complete with dirt bike races, hot sex, and naked hockey players. Talented Canadian photographer Clelia (Sophie Marceau) lands a financially lucrative job in Paris at a rumor-mongering tabloid called La Verite run by Rupert MacRoi (Michel Subor). Though she finds most of her coworkers to be disillusioned and perverse, she happens upon Cleve (Pascal Greggory), a bumbling middle-aged children's book publisher. Cleve is days away from marrying MacRoi's daughter to bolster his flagging publishing house. Nonetheless, Clelia and Cleve retire to his office to make love almost immediately upon meeting. Though MacRoi has already bought his company, Cleve breaks off his wedding plans and proposes to Clelia. Enter Nemo (Guillaume Canet), a sexy young photographer who promptly propositions her upon their first encounter. In spite of her ferocious sexual attract to Nemo, Clelia marries Cleve and resolutely keeps to her wedding vows in the face of her suitor's continued advances. Madame de la Fayette's novel, from which this film draws inspiration, has already been adapted twice: the 1961 version was directed by Jean Delannoy and starred Marina Vlady, and the 1999 take, entitled The Letter was directed by Manoel de Oliveira and featured Chiara Mastroianni. ~ Jonathan Crow, All Movie Guide

An ambitious project of Chile-born, Paris-based Raul Ruiz, this psychological drama brings to the screen the famous classic of Marcel Proust with fidelity to its interior monologues and streams of consciousness. Proust (Marcelo Mazzarella), on his deathbed in his small apartment on Rue Hamelin, is looking through old photos and remembering his life, as real characters intermingle with fictional ones from his novels. The period is 1914-18, when WWI is raging. Hidden in Paris, thanks to his asthma, Marcel Proust wanders into the night. He finds an aging courtesan in Café de la Paix, which is deserted by the curfew. Charlus, the seducer of young boys, is at the Palais des Felicites where he meets his lovers. Gilberte returns alone to Tansonville to evade the confiscation of her chateau by the Germans after the death of her husband at the front. Famous violinist Morel is hiding in a decrepit hotel. The demoralizing effects of war affect all the characters, hastening their decadence or transforming them into caricatures. In the whirlpool of the grotesque specter of war, Marcel finds refuge in his childhood memories to escape the atrocities around him. Death and decadence, the evanescence of human existence, and the relations between space and time are some of the main themes explored in this film, which reflects the works of Marcel Proust in every detail. Raul Ruiz has on his side a very good screenwriter, Gilles Taurand, and an impressive cast: Catherine Deneuve and John Malkovich, who have collaborated with Ruiz before, Emanuelle Béart, Vincent Pérez, Pascal Greggory, and the Italian man of theatre, Marcello Mazzarella. Shown in competition at the 1999 Cannes Film Festival. ~ Gönül Dönmez-Colin, All Movie Guide

In the midst of WW I, a doctor and a lawyer team up to turn a ramshackle old mountain chateau into a sanatorium/health spa that caters to the afflicted from most every stratum of European society, most of whom show up with false hope in their hearts and plenty of equally false identities. Even the proprietors have a few deceptions, chief among them is the part of the resort where they provide shelter for dying and horribly maimed soldiers. Still the atmosphere of this high-class convalescent home is that of great gentility that thinly disguises the seaminess of the guests' secret activities. Though much of the film is a quirky comedy, tragedy comes creeping in when people begin dying of unnatural causes, and not even the pure mountain air can save the owners and the residents. ~ Sandra Brennan, All Movie Guide

Jacques Rivette directed this richly detailed six-hour drama based on the story of Joan of Arc. In Part one, "Les Batailles," Jeanne the Maid (Sandrine Bonnaire) leaves her childhood home in Domremy after hearing what she is sure was the voice of God. She believes that she can help lead France to victory on the battlefield, and she persuades Charles, dauphin of France (Andre Marcon) to allow her to guide his troops. Part two, "Les Prisons," concerns the sad aftermath of Jeanne's defeat at Orleans. Jeanne is sent to prison, where in two separate trials she is tried for heresy and impersonating a man, with both her life and the sanctity of her mortal body at stake. A four-hour version, with each of the two parts trimmed down to two hours, is also available. ~ Mark Deming, All Movie Guide

This comedy brings Pierre Richard and Michel Piccoli together onscreen once again. In the story, former professor Henri Toussaint Piccoli has been locked away in a psychiatric ward for some years for trying to strangle his wife when he found her in bed with another man. Now she has a terminal illness, and wants some sort of reconciliation with him. His therapist (Richard) decides to permit him to visit with her, provided he comes along. Except for his wide mood swings and occasional outbursts of lewd muttering, the professor "passes" for sane fairly easily. Not so the psychotic (Dominique Pinon) who stows away in the psychiatrist's car, who constantly calls attention to the other two. ~ Clarke Fountain, All Movie Guide

In this film, director Rene Feret tells the story of his parents' lives. In 1935 his mother Aline (Valerie Stroh) works in her parents' cafe in a mining town in northern France. There, she meets a customer, Pierre (Jean-Yves Berteloot), and decides she is going to marry him. In a reversal of roles, she is the one who proposes to him, and she also engineers a false pregnancy to persuade her parents to okay the match. With a few stops along the way, the story picks up after the war with the birth of the couple's third son, who is given the name Rene in memory of their first, dead son. Never rich, they achieve some level of financial stability just as their sons are about to head off to the city for college. The love between the two older people is highlighted in a poignant scene as, just as he is about to die, the father shares a champagne toast with his wife in memory of one of their happier moments. ~ Clarke Fountain, All Movie Guide