Jean-Claude Adelin Movies

American tourist Frank (Johnny Depp) meets a mysterious beauty who drags him into a dangerous world of intrigue and espionage while traveling through Europe in director Florian Henckel von Donnersmarck's paranoid thriller. When Frank met Elise (Angelina Jolie) on the train, he thought it was a chance encounter. Little did Frank realize it was all part of a much bigger plan, one that would soon find him dodging bullets through both the historic streets of Paris and the winding canals of Venice. Now, the faster Frank and Elise run, the more intense their romance grows. ~ Jason Buchanan, Rovi

The film is based on a true story of a young actor, Robert Hugues Lambert, who was hired to play the role of aviation hero Mermoz in occupied France during WW II. But his career came to a brutal end when his homosexuality was discovered and he was sent to a Nazi camp. The Vichy government's directive to bring to screen edifying films based on national myths, such as Charlemagne or Joan of Arc, led one producer to decide to make a film about Mermoz, an airmail pioneer who perished at the height of his fame, crashing in 1936. This symbolic figure was also an activist in an extreme rightwing party, the vice-president of a movement known as 'The Crosses of Fire.' Lambert, a relatively obscure theatre actor was hired for his physical resemblance. Another actor was hired to complete the film, but the sound crew managed to smuggle a microphone through the barbed wires to get a recording of Lambert's voice. The film had its premiere in Paris, but Lambert was shipped to Auschwitz, never to return. Based on this story, Jean Claude Grumberg wrote a fictional comedy about making a film during the Occupation. He decided that only a comedy could narrate the way most French people went about their business with their heads in the sand during the Occupation, seeking refuge in derivative comedy. The film's light tone, however, changes dramatically at the end when Lambert is taken away. ~ Gönül Dönmez-Colin, Rovi

In this mildly explicit sexual drama, the lovely dancer Annabelle (Delphine Zingg) has a passionate relationship with an older man but eventually decides to devote her romantic energies to a younger man with whom she has more in common. Between sex scenes, and philosophical discussions between friends and lovers about love and relationships, the viewer is treated to shots of the lovely dancer mulling over her life at various scenic locations in Paris. ~ Clarke Fountain, Rovi

Set in French Colonial Africa, Chocolat is told from the viewpoint of 8-year-old Cecile Ducasse. With no other frame of reference, the innocent Ducasse accepts the subjugation of the black natives by the white colonists as the natural order of things. The girl grows gradually aware of the social iniquities about her, but only in retrospect (the film is related in flashback, narrated by the grown-up heroine) does she fully realize just how cruel and wrong-headed the entire colonial system had been. ~ Hal Erickson, Rovi

In this 1987 film, director Bertrand Tavernier depicts French life in the Middle Ages as dreary, unromantic, and brutal. The story begins when a warrior leaves home to fight in the Hundred Years' War (1337-1453) between France and England. Before his departure, he gives his young son, François, a sword to safeguard his mother and her virtue. One day, after the boy opens a bedroom door to find his mother willingly submitting to a man, he uses the sword to kill the man and becomes traumatized with guilt and enmity toward his mother. Years later, François (Bernard-Pierre Donnadieu) must go off to war as a chevalier, or knight. While he is away, his daughter, the gentle and loving Béatrice (Julie Delpy), sees to the needs of her little brother and her feckless mother. Although the castle in which they live is a sepulcher of shadows and stone, Béatrice maintains her spirits as she looks forward to the day when her father's voice will once again echo in the corridors. After four years of war in which he was held captive for a time by the English, he returns to the castle, a hardened warrior who has renounced God. Inside his twisted mind, he still carries the memory of that terrible day long ago, the day he discovered that his mother was an adulteress. Giving the demons within him free rein, he begins to abuse everyone around him: He insults, bullies, and pillages the local village. He even forces his son (Nils Tavernier) to wear women's clothes and become the prey in a hunt. As he descends deeper into depravity, it is innocent Béatrice who suffers the most. Whether he has completely destroyed her, or whether she will rise up and destroy him, becomes the central focus of the film as it moves toward its conclusion. ~ Mike Cummings, Rovi

Julie (Jessica Forde) and her childhood sweetheart Jean (Jean-Claude Adelin) are separated in this uneven but prize-winning romantic drama. When Jean is shipped off to live with his aristocratic father, Julie later becomes engaged to Henri (Simon de la Brosse), a young man from her own social standing. When Jean returns, Henri is driven to fits of jealous rage, and Julie follows the uninterested Jean back to Paris in an attempt to win his love again. This feature won the Jean Vigo Prize in 1987. ~ Dan Pavlides, Rovi

Scene of the Crime (Le Lieu du Crime) begins with a quote from Great Expectations. Thirteen-year-old Nicolas Giraudi, picking flowers in a cemetery, is surprised by escaped criminal Wadeck Stanczak, who orders the boy to bring him some money. Displaying no signs of fear, Giraudi does what he is told, and as a "reward" his life is spared by the convict. Later on, Stanczak gets stinking drunk at a road house managed by Giraudi's mother, Catherine Deneuve. Fascinated by Stanczak, Deneuve arranges for the fugitive to take a room at a local hotel. On the day that Giraudi is to receive his first communion, his mother plans to run off with Stanczak. The climactic set-to between criminals and police has the negatory effect of separating Giraudi from his mother; on a more positive note, however, the boy has been drawn closer to his father Victor Lanoux, whom Deneuve despised. The dreamlike, new wave-ish Scene of the Crime is a lot more complex than this skeletal synopsis would suggest. ~ Hal Erickson, Rovi