Patrick Godeau Movies

A television weatherwoman is pursued simultaneously by a spoiled pharmaceutical heir and a successful -- but much older -- writer in director Claude Chabrol's blackly comic tale of romance and class differences. Gabrielle Deneige (Ludivine Sagnier) has a high-profile job detailing the forecast on French TV. Yet despite Gabrielle's staunch work ethic, she values her privacy over her professional career and lives in a modest house with her aging mother (Marie Bunel). One day, renowned author Charles Saint-Denis (François Berléand) is interviewed at the television station where Gabrielle works, and the two feel an instant, powerful connection. Later, at a book signing, the pair continues to flirt despite the presence of entitled rich kid Paul Gaudens (Benoît Magimel) -- who openly despises the writer and longs to claim Gabrielle as his own. Despite the fact that Charles is still happily married to his wife of 25 years (Valeria Cavalli), with whom he has set up home in a posh ultra-modern estate in the countryside, he and Gabrielle share an intimate afternoon at the author's nearby pied-à-terre. Later, as the potentially psychotic Paul steps up his pursuit of Gabrielle, the girl begins to question whether either of her suitors is pure in his intentions. ~ Jason Buchanan, All Movie Guide

A couple's marital woes lead to a terrifying ordeal in director Cédric Kahn's Red Lights. Co-written by Gilles Marchand (Who Killed Bambi?) and Kahn's frequent writing partner Laurence Ferreira Barbosa, Red Lights is based on a novel by Georges Simenon. In the film, Antoine (Jean-Pierre Darroussin) seems to be looking forward to taking his wife, Hélène (Carole Bouquet), for a long drive. The plan is to leave Paris and pick up their children at camp that evening, then spend a couple of weeks in the country relaxing. But when Hélène keeps him waiting, Antoine begins to drink. After several beers and a scotch, the couple hit the road, and immediately run into traffic leaving the city. Antoine has been hearing stories of horrible accidents on the road all evening, but that doesn't stop him from driving like a madman. When Hélène complains about his erratic driving, things just get worse. When they're not bickering, they're glaring silently out at the dark road. Eventually, Antoine decides to pull over for another drink, and when Hélène threatens to take the car and continue on without him, he takes the keys with him into the bar. When he gets out, he finds that Hélène has gone, leaving a note on the car saying she's continuing on by train. Antoine races to the train station, but he's too late, so he wanders into a nearby bar. There, he buys a drink for a sullen young man (Vincent Deniard), who later approaches him in the parking lot, asking for a ride. The two soon come to a police roadblock, and Antoine begins to suspect that his traveling companion is the escaped fugitive for whom the cops are looking. Red Lights had its U.S. premiere at the 2004 Tribeca Film Festival. ~ Josh Ralske, All Movie Guide

Two people with little in common enter into a brief, impulsive love affair in this comedy-drama. Pierre (Jacques Gamblin) is the leader of an improvisational comedy team known as The Unpredictables, who specialize in blending unnoticed into social functions and large gatherings, then making comic mayhem out of their surroundings. Pierre and his partners Karim (Zinedine Soualem) and Alice (Isabelle Candelier) have been hired to provide entertainment at a conference for employees of a large pharmaceutical firm, where they'll pose as waiters and create humor out of improbable dining suggestions. One guest who is quite taken with their performance is Claire (Sandrine Bonnaire), who finds herself attracted to Pierre, even though she's been happily married for eight years and has two children at home. The morning after the conference, Claire discovers she's missed her train, and bumps into The Unpredictables; Pierre helpfully offers her a ride in their van, and Claire accepts. On a whim, Claire tags along for the troupe's next gig, a performance at a wedding reception, and the more time she spends with Pierre, the more she finds herself thinking about leaving her old life behind, if only for a while. Mademoiselle was the third feature from writer and director Philippe Lioret, one of the few movie soundmen who has graduated to directing feature films. ~ Mark Deming, All Movie Guide

Daniel Auteuil stars as the infamous Marquis de Sade, who at the beginning of Sade, is serving a sentence in Paris' grim Saint Lazarde prison. The year is 1794, and Sade is being persecuted for his steadfast atheism, which runs counter to the beliefs of Robespierre, France's terrifying revolutionary leader. The Marquis is granted something of a reprieve when he is transferred -- courtesy of his mistress Sensible (Marianne Denicourt) -- to Picpus, a former convent that now serves as the equivalent of a luxury prison. Although Picpus is not without its own guillotine and mass grave, Sade is more concerned with the blossoming Emilie (Isild Le Besco). Meanwhile, Sensible, who has a son who calls Sade "Papa," is forced to share the bed of her own protector, Fournier (Gregoire Colin), a moody lout who hates Sade and works for none other than Robespierre. ~ Rebecca Flint Marx, All Movie Guide

Though unemployed, Pierre is buoyant, outgoing, affable, and experienced with women. This last is a point he never fails to drive home to Benoit, his gentle, hapless best friend. In an effort to compensate for his romantic failures, Benoit turns to the newspaper personals ads, and meets Marie. Even though his courtship of her is uninspiring, Marie agrees to marry Benoit. Naturally, Pierre meets Marie often. As he gets to know her, he discovers that he is recklessly in love with her, and he arranges his life around seeing her and being near her. He is so overtaken with feeling that he even corners total strangers in order to speak of his love. Benoit -completely unaware of this- suggests that he keep Marie company while he is at work. When everything comes out into the open, the friendship of the two men governs the outcome. ~ Clarke Fountain, All Movie Guide

The potentially negative effects of using archaic and strict methods of dealing the children the main theme of this French film which is set in 1962. While it's story of two youngsters in love, it also explores romance and sexuality in children. It is told from their viewpoint. Gil and Jessica are two eccentric and imaginative children in love. Worried that their love is unhealthy, the surrounding adults subject the kids to two differing approaches to modify their "unnatural behavior." Dr. Nevele offers the traditional, stern methodology. Edouart offers a more permissive approach. ~ Sandra Brennan, All Movie Guide

Cult science-fiction author Philip K. Dick's novel of 1950s suburban California, Confessions of a Crap Artist, is adapted to present-day France in this quirky comedy-drama. Hippolyte Girardot portrays the title character, who is known by the nickname "Barjo" -- a moniker loosely translatable as "nutcase." After accidentally burning down his house during a scientific experiment, the extremely eccentric and socially naive Barjo is forced to move in with his twin sister, Fanfan, and her husband Charles, an aluminum factory owner. In his new home, Barjo continues his odd habits: cataloging old science magazines, testing bizarre inventions, and thinking about the end of the world. His main pursuit, however, is typing up a journal of "scientific" observations of his life, with a particular focus on the other people around him. Through this journal, Barjo chronicles Fanfan and Charles' increasingly frequent encounters with a younger couple and the marital tension that soon results -- eventually driving Charles into the hospital. Director Jerome Boivin (Baxter) uses Barjo's viewpoint to present an unusual perspective on marital and sexual difficulty, with his narration analyzing his sister's marriage fluctuating between the embarrassingly naive and the unexpectedly observant. ~ Judd Blaise, All Movie Guide

The French-filmed Baxter is based on the American novel Hell Hound. The title character is a bull terrier, who in the course of the film has many masters--and for good reason. Baxter has been instrumental in the deaths or serious injuries of most of the human beings who've come in contact with him. The dog's latest owner is a young neo-Nazi. nd Baxter makes it quite clear (to the audience at least) what he has in store for this fellow. Don't be misled by the title or the fact that the leading character is a dog with a full range of human emotions; Baxter is not a family film. ~ Hal Erickson, All Movie Guide