Philippe Clevenot Movies

The neologistic title of this film translates as "Death Bureau," a secret vigilante organization used by ordinary working folk to rid the city of criminals through secret executions. Woodworker Leo Stoychev (Maurice Bennichou) goes to the organization for help because his boss Branco (Herve Briaux) won't repay a loan and may have had something to do with the accident that crippled Leo. The Mordburo is responsible for the death of a crooked lawyer, and Inspector Raoul (Patrick Catalifo) becomes suspicious. This French-Belgian-Bulgarian-Italian co-production was filmed amid the industrial backdrops of Sofia. Lionel Kopp, the co-founder of the special effects house Les Trois Lumieres, made his directorial debut with this film. ~ Bhob Stewart, Rovi

In this frequently surrealistic romp, a satire on sex, politics, and the business of filmmaking, two young women get together after discovering sufficient provocations in their lives to deliberately set out to wreak havoc in the world around them. Joelle (Anouk Grinberg) has just been thrown out of a moving car by her abusive man-friend, when Camille (Charlotte Gainsbourg) encounters her. Joelle's bitter exclamation Merci la Vie, or "thank you, life" echoes something of Camille's feelings, and the two decide to go on a rampage, picking up and seducing numerous men and then doing things like destroying their cars. Eventually, they set their sights on a "higher" goal and decide to do in an entire town. Meanwhile, it becomes evident that a sinister medical researcher, Dr. Worms (Gérard Depardieu), has infected promiscuous Joelle with a sexually transmitted disease he invented for the sole purpose of becoming the man who finds its cure, which he hopes will make him beloved, famous and rich. At some point, an elaborate series of flashbacks enter the story, and in one sequence, Camille attempts to persuade her feuding parents to get back together long enough to conceive her. Reviewers noted that logic is not a strong point in this film, but they found its fast pace and bright performances vastly entertaining. ~ Clarke Fountain, Rovi

The coming-of-age ritual of young Alexina (Valerie Stroh) is complicated by an unforseen circumstance. How can a girl become a woman if she isn't a girl in the first place? Alexina confirms this biological fact by entering into a confusing relationship with an older woman. If, after watching Alexina, you're as mixed up as the heroine/hero, rest assured you're in good company. English-language prints are unrated, but you've probably gathered that this one isn't for the kids. ~ Hal Erickson, Rovi

Jeanne (Slveig Dommartin) is a woman who is driven by her very active conscience. She attempts to assuage her idealistic bent by trying out life as a nun, but this doesn't work out. After she leaves the convent, she takes a job at a factory, where the callousness of management spurs her to become a labor activist. Her efforts are marked by great persistence and fervor, but she lacks any kind of diplomacy or persuasiveness, and as the years progress, she manages to alienate everyone in her life. By the end of the film, there is only one way that she can see to resolve the horrible situation she finds herself in. ~ Clarke Fountain, Rovi

Alice (Nathalie Baye) is the widow of a Jewish surgeon who helps the former diplomat Jerome (Pierre Arditi) smuggle Jews out of Austria to save them from the Nazis. The duo recruits Charles (Christophe Malavoy), a shoe manufacturer whose uncle is a Nazi sympathizer in the Vichy government. Charles and Alice become lovers when they are picked up in Paris by Nazi soldiers on a curfew violation. Genevieve Mnich co-stars with Philippe Clevnot and Jean Bousie in this dramatic World War II love triangle. ~ Dan Pavlides, Rovi

Danuta Zarasik plays Isabelle Eberhardt in this biographical drama. At the turn of the 20th century, Isabelle fell in love with the African desert, donning men's clothing to travel and record her adventures in writing while her Moslem husband patiently waited at home. This visually stunning feature shows the overwhelming majesty and beauty of the forces of nature. Director Christine Laurent relies upon her expertise as a painter and designer to bring an added dimension of artistic beauty to the film. ~ Dan Pavlides, Rovi

The troubled life of French sculptor Camille Claudel and her long relationship with legendary sculptor Auguste Rodin are portrayed in this passionate biographical drama, featuring an acclaimed performance by Isabelle Adjani. Beginning in the 1880s with a young Claudel's first meeting with Rodin, the film traces the development of their intense romantic bond. The growth of this relationship coincides with the rise of Claudel's career, helping her overcome prejudices against female artists. However, their romance soon sours, due to the increasing pressures of Rodin's fame and his love for another woman. These difficulties combine with her increasing doubts about the value of her work to drive Claudel into an emotional tumult that threatens to become insanity. First-time director Bruno Nuytten had previously served as a cinematographer, and he brings this experience to bear in his loving presentation of Claudel's sculpture and the lavish period setting. The dramatic approach is in tune with the impressive visuals, which present Claudel's life as a grandiose melodrama, a transformation that irritated some critics. However, few questioned the film's value as a dramatic showcase for Adjani, whose fervent portrayal was rewarded with an Academy Award nomination for Best Actress. The American release version was cut to 159 minutes. ~ Judd Blaise, Rovi

Jean-Louis Trintignant's sinister yet subtle performance as a man who gives the most insane proof of love to his wife enlivens this adaptation of the novel Deep Water by Patricia Highsmith. In public, Vic Allen (Trintignant) puts up with his wife Mélanie's (Isabelle Huppert) amorous games, showing an outward attitude of acceptance. However, he scares away one of her prospective lovers by telling the poor guy that he killed one of his predecessors. In fact, he did not, and soon the actual perpetrator is found. Later, when Vic feels that Mélanie is becoming too seriously involved, he actually resorts to murders. Despite her ever-increasing suspicion, Mélanie finds it impossible to prove his guilt. ~ Yuri German, Rovi

Adapting the Gothic novel The Monk, by Matthew G. Lewis, Luis Buñuel and Jean-Claude Carrière wrote the screenplay for this French film, directed by Buñuel's friend, Ado Kyrou. In the story, Ambrosio (Franco Nero) is a monk who is sexually tempted by an emissary of the Devil, a young girl in monk's robes. After he has committed numerous crimes, it appears that he will be caught and punished by the Inquisition. Instead, he signs up on the Devil's team and wins his freedom...and eventually, the papacy. ~ Clarke Fountain, Rovi

Les Camisards brings events to the screen from the period in French history in which King Louis XIV ordered all Protestants to convert to Catholicism. The film begins just after the revocation of the Edict of Nantes (1598-1685), a proclamation that had granted official toleration to Protestants. Rather than being a sweeping epic, this film examines the fight of a small group of Protestants for survival in the mountainous Cevennes region. Some of the story is told using excerpts from the diary kept by an actual participant in the conflict. This movie is notable for its period authenticity and historical accuracy; it does not try to make the story into an analogy for modern issues, and the characters' concerns are correct for their time. ~ Clarke Fountain, Rovi