Jean-Francois Lepetit

Two women try to pass along what they've learned about life, love and work to a handful of kids with unexpected results in this French comedy. For years, Blanche (Josiane Balasko) and her husband ran a diner in a small village in France, with their daughter Louise (Sylvie Testud) coming aboard to help once she was grown. After Blanche's husband passes on, she and Louise decide to keep the place open, though a rival eatery owned by Lucie Chevrier (Catherine Hiegel) sees an opportunity to finally get the edge on their competition. Good-hearted Blanche and Louise hear that a group of foster children in need of parents have been left with nowhere to stay, and they agree to take in the kids. Blanche and her daughter go out of their way to the youngsters about the importance of a solid work ethic; however, this lesson is put to the test when local truck drivers go on strike, and their leader, Pierre (Eric Cantona) tries to convince everyone (including the children) not to work for a while. Writer and director Gerard Krawczyk adapted La Vie Est A Nous (aka It's Our Life) from the novel L'eau des Fleurs by Jean-Marie Gourio. ~ Mark Deming, All Movie Guide

A lonely and dejected woman (Amira Casar) learns that only when all inhibitions are cast aside will she be able to truly understand the truth about how men see women in this erotically charged exploration of sexuality from controversial director Catherine Breillat. Teetering on the edge of overwhelming ennui, the woman pays a man (Rocco Siffredi) to join her for a daring, four-day exploration of sexuality in which both reject all convention and smash all boundaries while locked away from society in an isolated estate. Only when the man and woman confront the most unspeakable aspects of their sexuality will they have a pure understanding of how the sexes view one another. ~ Jason Buchanan, All Movie Guide

Catherine Breillat's Sex is Comedy concerns a female film director, Jeanne (Anne Parillaud), who is attempting to film a sex scene in her new movie. Complicating the already emotionally difficult shoot is the fact that Jeanne and her lead actor (Grégoire Colin) are sexually involved. The scene being shot echoes with a scene in Breillat's previous film, Fat Girl, adding to the supposed "reality" of the situations presented in the film. Roxane Mesquida rounds out the cast as the actress playing the 15-year-old in the scene being filmed. Sex Is Comedy was screened during the Director's Fortnight at the 2002 Cannes Film Festival. ~ Perry Seibert, All Movie Guide

A young man learns just how much is truly fair in love and war in this purposefully outrageous comedy-drama. Paul (Thomas Dutronc) is a naïve student who has recently begun attending college in Paris. Paul has developed a furious crush on a fellow student and has spent two weeks trying to work up the nerve to speak to her -- only to see Fabio (Said Taghmaoui), one of his classmates, move in and lay claim to the girl, with seemingly no effort. Amazed, Paul asks Fabio what the secret is, and soon Fabio is giving Paul a crash course in the not-so-fine art of seducing women. A few months later, Paul has mastered Fabio's teachings and can bed nearly any woman he wants...but he soon finds he doesn't much care for them now, and has picked up a few other bad habits along the way. ~ Mark Deming, All Movie Guide

Like Nagisa Oshima's erotic masterpiece In the Realm of the Senses (1976), this film's shockingly graphic depiction of sex blurs the line between art and pornography. Marie (Caroline Ducey) is unfulfilled by her relationship with Paul (Sagamore Stévenin), her narcissistic male model boyfriend, who refuses to show her any kind of physical affection, much less make love to her. Frustrated, she decides to take matters into her own hands, and she finds one night of tenderness and passion in the arms of Paolo, a man she met in a bar, played by Italian porn star Rocco Siffredi. Later, she is seduced by an older man, Robert (François Berléand), who introduces her to bondage and sadomasochism. As she allows herself to be bound, gagged, and forced into bizarre contortions, her flirtation with the wild side pushes her into increasingly frightening and degrading situations. Yet, like Catherine Deneuve's Sévérine in Belle de jour (1967), after each tryst she returns to her emotionally remote boyfriend as if nothing happened. One night, taken by Marie's renewed vitality, Paul holds her and begins to make love to her. Although he selfishly withdraws halfway through and casts her aside, he manages to impregnate her; after he proposes, Marie begins to feel society's constraints on her newly liberated sexuality, and she eventually decides to take violent action to salvage it. Unlike most sexually explicit works, the film is expressed from the female perspective. Director Catherine Breillat places the viewer inside Marie's mind through the camera's point-of-view, which in one scene lingers lovingly on Siffredi's camera-friendly anatomy, and through Marie's voice-overs, which provide access to her private thoughts. Brought to life by Ducey's tour-de-force performance, Romance is a confrontational yet emotional work that is not easy to forget. The film premiered at the 1999 Rotterdam Film Festival and was screened at the 1999 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

This Great War drama opens in the trenches during an artillery bombardment. Receiving bayonet wounds, young Simon (Guillaume Depardieu) drops out of the action, joining other injured soldiers at a Brittany hospital. One day he meets schoolteacher Marthe (Clotilde Courau), who lives in the household of the hospital's head doctor (Bernard Giraudeau). Soon a romance begins to develop. Cinematography by Kevin Jewison, son of director Norman Jewison. ~ Bhob Stewart, All Movie Guide

This peaceful French drama was filmed in the beautiful West African desert. Set in the 18th century, when the slave trade was still booming, it chronicles the complex relationships between Jean-Francois, an exiled French aristocrat, his mulatto lover, who is a widow and a slave trader, and the ten-year-old slave whom he raises as a daughter. He receives the girl after making an important deal with a local chief. Jean-Francois is entranced by the intelligent young beauty and raises the girl, Amelie, as if she were his daughter, but as she matures, he finds other feelings stirring within. Even though he continues a long distance relationship with his lover in France, and continues trysting with the widow, Jean-Francois feels closest to little Amelie. When she and other slaves are stolen by a rival tribe, he hastily sets out to save her. ~ Sandra Brennan, All Movie Guide

Pier Paolo Pasolini was a beloved Italian filmmaker, poet and novelist whose murder in 1975 threw the whole nation into shock. This drama attempts to document the killing and the aftermath while exploring the true motives for the killing. The film opens as the police are in hot pursuit of a car racing along the waterfront of Ostia. At the end of the chase they end up arresting one Pino Pelosi, a male prostitute who confesses to bludgeoning the director to death and running him over with a car. The initial evidence goes along with Pelosi's story. Intermingled with the drama is actual police and press footage of the murder scene, the trial and other related events. As the court goes to trial, it soon becomes apparent that Pelosi is not telling the whole truth. Despite the findings of the media, the police and the lawyers seem to be in an inordinate hurry to close the case and dismiss it as yet another gay killing. Although the film avoids making elaborate postulations about the whole truth of the killing, it does not deny the fact that Pelosi did not act alone. Unfortunately, though Pelosi was imprisoned for his crime, he refused to reveal the identities of the others involved. ~ Sandra Brennan, All Movie Guide

This fluffy French romantic comedy chronicles the love lives of several lovers and relatives. Margeau has just arrived in Paris from New York. Twenty years before, she left her husband, a painter and many years her senior and her daughter Jess, who now sells classic cars with her partner the clumsy Mario. Jess is recovering from an accidental overdose on sleeping pills. Her hospitalization brought Margeau home. Jess has a young boyfriend, a musician not terribly interested in sex, and a 17 year old son from her ex- husband Pierre. A restaurateur Pierre now lives with a very young African student. The hospital shrink helping Jess ends up having an affair with her son. Before the film ends and Margeau returns home, Jess comes close to death three more times. ~ Sandra Brennan, All Movie Guide

Noted Austrian actor Klaus-Maria Brandauer stepped into the director's chair for this drama about the rise of fascism in Europe, based on a story by Thomas Mann. In the 1920s, Bernhard Fuhrmann (Julian Sands), a German author and outspoken leftist, takes his family to Torre di Venere, a resort community in Italy, where they are not welcomed warmly by all of the residents, especially after an incident in which Fuhrmann's daughter is caught swimming nude by the seashore. While several of the guests at the hotel where the Fuhrmanns are staying voice their opposition to the family's presence, the concierge defends their right to stay there -- until she is killed and replaced by a member of the local fascist brigade. As the village is enveloped in chaos, a magician named Cipola (Brandauer) appears, who has a profound effect on the lives of those around him. Mario und der Zauberer was shown in competition at the 1994 Moscow Film Festival. ~ Mark Deming, All Movie Guide

Jean-Claude Lauzon's highly praised film tells the strange story of Léolo, a young boy from Montréal. Told from Léolo's point-of-view, the film depicts his family of lunatics and Léolo's attempts to deal with them. Not one individual in the boy's life is well adjusted. His brother, after being beaten up, spends the film bulking up on growth protein. The grandfather hires half-naked girls to bite off his toenails and, in a brutal rage, almost kills Léolo. As he witnesses his family decay around him, Léolo retreats into himself and the fantasy world he has constructed. In response to the weirdness of his daily life, Léolo creates a little mental mayhem of his own which Lauzon renders in an amazing series of free-form, surreal images. Eventually, this precarious balance of reality and fantasy cracks and Léolo is hospitalized after attempting to murder his grandfather. The score by Tom Waits underscores the narrative arc of Léolo's breakdown. On its release, the film won numerous awards including the International Fantasy Film Award for Best Director (1992) and a Genie Award for Best Original Screenplay (1992). ~ Brian Whitener, All Movie Guide