Robert Benmussa Movies

A ghostwriter stumbles onto a secret that places his life in danger as he takes down the life story of a former U.K. prime minister in this Roman Polanski-helmed adaptation of the Robert Harris novel. Convinced by his agent that he's been granted a once-in-a-lifetime opportunity, talented British screenwriter "The Ghost" (Ewan McGregor) agrees to aid British prime minister Adam Lang (Pierce Brosnan) in completing his memoirs after the leader's former aide dies under mysterious circumstances. Almost immediately after The Ghost arrives at a remote mansion in the U.S. to begin working with the prime minister, Lang is accused of committing a war crime by a former British cabinet minister. Amidst a deluge of protestors and reporters, The Ghost delves into the unfinished manuscript and comes to the terrifying conclusion that his predecessor died because he discovered a link between Prime Minister Lang and the CIA. The more information The Ghost uncovers, the more convinced he becomes that his life could be in danger as well. ~ Jason Buchanan, Rovi

Director Roman Polanski gives one of Charles Dickens' best-loved stories a new and dynamic interpretation in this period drama. Oliver Twist (Barney Clark) is a young orphan in Victorian England who has been sent to a dank workhouse run by the miserly Mr. Bumble (Jeremy Swift) when it is learned there is no one to care for him. When Oliver dares to ask for more gruel, he is sent away to live with an undertaker, who treats him poorly. Preferring life on the streets to the treatment he's been receiving, Oliver runs away to London, where he falls in with the Artful Dodger (Harry Eden), a youthful pickpocket. The Artful Dodger is one of a gang of young thieves overseen by Fagin (Ben Kingsley), a paternal but sinister criminal mastermind. While Oliver finds a home of sorts with Fagin and his young cohorts, he also falls into a dangerous life made all the more threatening by the presence of Fagin's menacing overlord, Bill Sykes (Jamie Foreman). Oliver Twist was Polanski's first feature film after enjoying a major career resurgence following the international success of his Oscar-winning World War II drama The Pianist. ~ Mark Deming, Rovi

Filmmaker Roman Polanski, who as a boy growing up in Poland watched while the Nazis devastated his country during World War II, directed this downbeat drama based on the true story of a privileged musician who spent five years struggling against the Nazi occupation of Warsaw. Wladyslaw Szpilman (Adrien Brody) is a gifted classical pianist born to a wealthy Jewish family in Poland. The Szpilmans have a large and comfortable flat in Warsaw which Wladyslaw shares with his mother and father (Maureen Lipman and Frank Finlay), his sisters Halina and Regina (Jessica Kate Meyer and Julia Rayner), and his brother, Henryk (Ed Stoppard). While Wladyslaw and his family are aware of the looming presence of German forces and Hitler's designs on Poland, they're convinced that the Nazis are a menace which will pass, and that England and France will step forward to aid Poland in the event of a real crisis. Wladyslaw's naïveté is shattered when a German bomb rips through a radio studio while he performs a recital for broadcast. During the early stages of the Nazi occupation, as a respected artist, he still imagines himself above the danger, using his pull to obtain employment papers for his father and landing a supposedly safe job playing piano in a restaurant. But as the German grip tightens upon Poland, Wladyslaw and his family are selected for deportation to a Nazi concentration camp. Refusing to face a certain death, Wladyslaw goes into hiding in a comfortable apartment provided by a friend. However, when his benefactor goes missing, Wladyslaw is left to fend for himself and he spends the next several years dashing from one abandoned home to another, desperate to avoid capture by German occupation troops. The Pianist was based on the memoir of the same name by the real-life Wladyslaw Szpilman; the book was first published in 1946 as Death of a City, but was banned by Polish Communist officials and went out of print until 1998, when a new edition was issued as The Pianist. ~ Mark Deming, Rovi

The bitter legacy of the French/Algerian War set the stage of this drama from director Alexandre Arcady, himself a Frenchman of Algerian birth. Pierre Nivel (Antoine DeCaunes) is a noted French television journalist and network anchorman. One day, he receives an unexpected visitor, an Algerian man with a message from someone named Leila. Pierre was born in Algeria, and he lived there until he was 17, when the French were forced to leave after Algeria won its independence in 1962. He's kept his Algerian past a secret from most of his friends and colleagues, but the note from Leila, his teenage sweetheart, leads him back to the land of his birth. It turns out that Leila now has a grown daughter, Amina (Nozha Khouadra), and Leila needs Pierre's help to smuggle her and her daughter out of the country. A defiant woman, Amina's refusal to go through with an arranged marriage to a fundamentalist and removal of her veil in public has put both herself and her family in great danger. La Bas ... Mon Pays/Return to Algiers was the first French production to be shot on location in Algeria since the nation won its independence. ~ Mark Deming, Rovi

Combining romance, science fiction and a political parable, Furia takes place in the future, after an oppressive government, which has shut down all political opposition, recognizes art as a means of free expression -- and therefore bans painting on public surfaces. Theo (Stanislas Merhar) is an activist artist who creates paintings on walls under the cover of darkness, despite the fact his bother Laurence (Wadek Stanczak) works with the local government. Their father Aaron (Pierre Vaneck), a local barkeep, used to paint, but when he was caught, the color was taken from his eyes and now he can only see in monochrome. When Theo meets another rebel artist, the lovely Elia (Marion Cotillard), he's immediately smitten, and when she's arrested and subjected to torture, Theo tries to have himself caught so he can be with her (and protect her) behind bars. Furia was adapted by director and co-screenwriter Alexandre Aja from a short story by Julio Cortazar, an Argentinian refugee who fled to Paris in the era when rebellious citizens were "disappearing" -- 30,000 in all. ~ Mark Deming, Rovi

Zac is a well-respected French filmmaker who creates a major uproar when for no apparent reason he suddenly vanishes from his posh Parisian apartment leaving behind his lover Helene, a popular star. Marcus, his producer searches for eight months before locating Zac who has since become a homeless street bum in an expensive neighborhood. Marcus sends Zac to a posh hotel. He then sends Daisy, an ambitious secretary and aspiring screenwriter to learn what happened to the great director. It takes a lot of mutual verbal sparring and false turns (which are presented as creatively filmed vignettes that are done using a variety of techniques) from Zac before he finally tells her the truth. The two then decide to turn the story into a film. As they write, Daisy and Zac slowly fall in love. At the same time, Marcus has his hands full trying to avoid some tough Russian Mafiosos who want the money they invested back. In order to make Zac and Daisy's film, the whole production is moved to the relative safety of South Africa. ~ Sandra Brennan, Rovi

A menage-a-trois between rival sisters and a boyfriend provide the dramatic focus of this French film. The sisters Alice and Elsa have been apart for two years. Alice, a painter, lives in Paris with her lover Franc. Problems for the happy couple ensue when Elsa suddenly appears at their door after leaving her cheating husband and two children. Elsa immediately begins trying to dominate their lives. Alice wants the out-of-control Elsa to leave, but then suddenly changes her mind. To thank her, Elsa destroys her art studio, has sex with Franc, convinces him that Alice is unbalanced, and then ties Alice up in her apartment. ~ Sandra Brennan, Rovi

Diane Kurys and Antoine Lacomblez wrote this drama of a woman novelist and her troubled, 20-year relationship with a man who has fathered two children with another woman. ~ Nicole Gagne, Rovi

Wanting to learn more about his Jewish heritage, a French philosophy professor moves to an Israeli kibbutz located near the Golan Heights in 1965. He is followed by a non-Jewish former student who abandons her aspirations of becoming a concert violinist to be with him. Two years pass, and professor Sacha is joined by three more former students who have come down to celebrate the lovely violinist's 20th birthday. Unfortunately, the tensions that led up to the Six Day's War are rapidly escalating and Sacha is drafted into the military. The night of the party, one of the guests shows home movies of their lives in Paris. Sacha cannot help but feel guilty pangs while watching for the films contain scenes of his love Myriam, the woman who committed suicide after he broke up with her. Her death is one of the reasons he left Paris. It is with this guilt roiling around inside that Sacha goes to war leading to the story's bittersweet conclusion. ~ Sandra Brennan, Rovi

In this thriller, Karim Hamida (Richard Berry), an undercover agent for an Arab government, and Simon Atlan (Patrick Bruel), a Jewish cop, join forces to fight terrorism. To begin with they are paired by their superiors to bust up an international heroin ring operating in French high schools. At first, they haven't got anything good to say to each other, but when they catch wind of a terrorist hiding out at an embassy, they join forces. This same terrorist is posing as the director of an "Islamic cultural center" which is actually a school for mayhem. These two men infiltrate the center and disrupt its operations, nearly losing their lives in the process. The bad guy swears vengance, and begins a campaign of terrorism aimed specifically at these two men. ~ Clarke Fountain, Rovi

Though some viewers might be put off by its length, graphic violence, and absence of likable characters, Sergio Leone's final film is also a cinematic masterpiece. Spanning four decades, the film tells the story of David "Noodles" Aaronson (Robert De Niro) and his Jewish pals, chronicling their childhoods on New York's Lower East Side in the 1920s, through their gangster careers in the 1930s, and culminating in Noodles' 1968 return to New York from self-imposed exile, at which time he learns the truth about the fate of his friends and again confronts the nightmare of his past. The acting, the re-creation of the time period, the cinematography, and the music are all superb. However, even more important is Leone's ability to make the film work on so many different levels: it's both a criticism of gangster-film mythology and a continuation of the director's exploration of the issues of time and history. Strange as it may seem, the violence and gore in the first half of the film turn into a sad elegy about wasted lives and lost love. The film's strengths emerge only in its full 229-minute version -- the 139-minute and other edited versions don't make nearly the same impact. ~ Yuri German, Rovi