Isabelle Adjani

A boy from a broken home finds a friend in an insular, spiritual shopkeeper in this period drama from writer/director François Dupeyron. Set in 1960s Paris, Monsieur Ibrahim et les Fleurs du Coran revolves around Momo (Pierre Boulanger), a young man who lives alone with his father in the bustling Rue Bleu district. Still smarting over the separation from his wife and other son, Momo's dad neglects his son in ways both minor and major, to the point where the teen spends most of his time out of school alone and isolated. He finds an unlikely ally in Monsieur Ibrahim (Omar Sharif), a Muslim shopkeeper who spends most of his days behind the counter of his store reading the Koran. As time passes, Momo and Ibrahim begin to bring each other out of his respective shell, sharing a series of everyday adventures, culminating in Momo's indoctrination into Ibrahim's faith. Monsieur Ibrahim et les Fleurs du Coran played the Toronto and Venice film festivals; at the latter, Sharif was given a lifetime achievement award for this and the rest of his career's work. ~ Michael Hastings, All Movie Guide

When an indistinct woman named Charlotte (Isabelle Adjani) leaves a train station in hopes of changing her life forever, she's followed by a mysterious stranger with ill intentions. After recovering a bag hidden adeptly within the women's bathroom, Charlotte re-enters the station, this time looking every inch the femme fatale, from her tailored suit to her dark glasses. When she buys a ticket to another destination, however, the man follows her onboard, determined to prevent her from starting anew. Directed by Laetitia Masson, La Repentie also features Sami Frey, Samy Naceri, Dawn Clement, Maria Schneider, and Jacques Bonnafe. ~ Tracie Cooper, All Movie Guide

The historical novel by Alexandre Dumas was adapted for the screen with this lavish French epic, winner of 5 Césars and a pair of awards at the Cannes Film Festival. Isabelle Adjani stars as Marguerite de Valois, better known as Margot, daughter of scheming Catholic power player Catherine de Medici (Virna Lisi). Margot is an heiress to the throne during the late 16th century reign of the neurotic, hypochondriac King Charles IX (Jean-Hugues Anglade), a time when Protestants and Catholics are vying for political control of France. Catherine decides to make an overture of good will by offering up Margot in marriage to prominent Protestant Huguenot Henri of Navarre (Daniel Auteuil), although she also schemes to bring about the notorious St. Bartholomew's Day massacre of 1572, when tens of thousands of Protestants are slaughtered. The marriage goes forward but Margot doesn't love Henri and takes a lover, the soldier La Mole (Vincent Perez), also a Protestant from a well-to-do family. Murders by poisoning follow, as court intrigues multiply and Catherine's villainous plotting to place her son Anjou (Pascal Greggory) on the throne threatens the lives of La Mole, Margot and Henri. The American release version was cut to 145 minutes. ~ Karl Williams, All Movie Guide

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, All Movie Guide

Coming in on the heels of his internationally acclaimed first film, Le Dernier Combat, 26-year-old director Luc Besson created this tongue-in-cheek look at filmmaking and at the denizens in the tunnels of the Paris Metro -- a new kind of underground movie. Fred (Christopher Lambert) has just stolen some major documents from a birthday celebration given by the Paris elite for one of their kind, Helena (Isabelle Adjani). He takes off into the Metro just as it is shut down for the remaining few hours of predawn darkness and once in the Metro encounters several characters in the tunnels. There is a bodybuilder who works out with subway parts, a purse-snatcher, and a flower seller of dubious ethics. Inspired by the moment, Fred decides to recruit a few of the ubiquitous musicians who perform (some of the best music around) on the Metro's byways, and he creates a rock band. Through all of these encounters and activities, the police and others -- including Helena -- are after Fred for their own reasons, none of which coincide. As Fred discovers, going underground can be risky. ~ Eleanor Mannikka, All Movie Guide

In this tragic tale of misunderstanding, obsession, and increasing madness, "she," a beautiful young woman (Isabelle Adjani) settles into a small town in the south of France with her introverted mother (Maria Machado) and physically handicapped father and soon becomes the subject of wild speculation because of her aloofness and at the same time, her obvious sexuality. The young woman is actually caught up in the desire to avenge the long-ago rape of her mother, a rape committed by three Italian immigrants, one of whom is associated with a player piano. An attractive car mechanic (Alain Souchon) is enamored of her, and the woman suddenly sees him in a different light when she learns that his father, now dead, was an Italian immigrant who owned a player piano. Intent on taking action against the mechanic's family to right the wrong suffered by her mother, the daughter begins to lose her grip on sanity when she finds out that the men she suspects of the rape are actually innocent. In fact, her father long ago exacted his own vengeance on the three rapists. This knowledge pushes her over the edge, and she has to be institutionalized. Meanwhile, the young mechanic misunderstands what has happened and sets in motion events that cannot but lead to tragedy. L'Été Meurtier garnered four different Cesars in the 1983 competition: "Best Actress" (Isabelle Adjani), "Best Supporting Actress" (Suzanne Flon), "Best Original Screenplay," and "Best Editing." ~ Eleanor Mannikka, All Movie Guide

No relation to the 1949 Somerset Maugham "omnibus" film of the same name, 1981's Quartet is based on the roman a clef by Jean Rhys. Though the names are changed, it is clearly the story of Rhys' romance with Ford Maddox Ford in 1920s Paris. The titular quartet consists of novelist Isabelle Adjani, her Polish husband Anthony Higgins, wealthy philanderer Alan Bates and Bates' artist wife Maggie Smith. Though she's been indulgent of Higgins' past indiscretions, Smith isn't keen on her husband carrying on an affair with Adjani under their own roof. Meanwhile, Higgins sits in prison, jailed for his various petty thefts. Once Higgins is released, he learns about the Bates-Adjani-Smith contretemps. When the dust settles, it is Adjani who suffers the most. ~ Hal Erickson, All Movie Guide

Usually misattributed to the horror genre, this challenging and highly unusual drama stars Isabelle Adjani as a young woman who forsakes her husband (Sam Neill) and her lover (Heinz Bennent) for a bizarre, tentacled creature that she keeps in a run-down Berlin apartment. In the beginning, her husband knows nothing about the monster and sincerely believes that his wife is insane. He has her tailed by private detectives, whom she kills and feeds to the creature. Still unaware of what has happened, the husband contends with the reserved and inadvertently seductive presence of his wife's look-alike (also played by Adjani), a schoolteacher who frequently comes to tutor his son while his wife is away. Though tempted by her quiet goodness and beauty, he is still passionately in love with his wife and even after he finds out about the murders, he stays by her side and helps her conceal her crimes. Filmed amidst the oppressive backdrop of the Berlin Wall by the expatriate Polish director Andrzej Zulawski (who was unable to work in his homeland after too many clashes with the authorities), the picture is so relentlessly intense and so deliberately esoteric, that most viewers would find it too hard to connect with. Still its symbolism, its unbridled and flashy directorial style, and the tour de force performance by Isabelle Adjani earned this unique tale a cult following in Europe. The version originally released in the U.S. had 45 minutes chopped out; in this form, it is barely comprehensible and looks like a cheap, gory feast. ~ Yuri German, All Movie Guide

The thin plot that ties the story of Clara (Isabelle Adjani) and Bertrand (Thierry Lhermitte), the man pursuing her, to a newly-formed rock band is fleshed out by the young actors, several of them cafe-theater players making a transition to the "big screen." The actors play six young "twenty-somethings" in Grenoble who decide to make a go of otherwise routine lives by forming a rock band called the "Why Notes." The story opens with their trip to Paris for the weekend and closes with their coming home. In between, Bertrand is after Clara who has just abandoned her husband of a few hours. In the end, what happens "in between" may not be as relevant as the way in which the characters live, speak, and act. ~ Eleanor Mannikka, All Movie Guide

For Werner Herzog's 1979 remake of F.W. Murnau's classic 1922 silent horror-fest Nosferatu, star Klaus Kinski adopts the same makeup style used by Murnau's leading man Max Schreck. Yet in the Herzog version, the crucial difference is that Nosferatu becomes more and more decayed and desiccated as the film progresses. Essentially a retelling of Bram Stoker's Dracula, Nosferatu the Vampyre traces the blood-sucking progress of the count as he takes over a small German village, then attempts to spread his influence and activities to the rest of the world. All that prevents Dracula from continuing his demonic practices is the self-sacrifice of Lucy Harker, played by Isabelle Adjani. Director Werner Herzog used the story to parallel the rise of Nazism. The film was lensed in the Dutch towns of Delft and Scheiberg. Nosferatu the Vampyre was filmed in both an English and a German-speaking version; the latter runs 11 minutes longer. ~ Hal Erickson, All Movie Guide

Former film critic André Téchiné directed and co-wrote this offbeat crime drama. Samson (Gérard Depardieu) is a down-on-his-luck boxer who manages to win a fortune thanks to a fixed fight. However, while Samson and his girlfriend Laure (Isabelle Adjani) are trying to get away with the money, he is killed by a gunman who looks just like Samson (and is also played by Depardieu). Laure is crushed, but in time she finds herself attracted to Samson's murderous double; he is also drawn to her, and they eventually become lovers. The supporting cast includes Marie-France Pisier and Jean-Claude Brialy. ~ Mark Deming, All Movie Guide

Violette (Isabelle Adjani) is fascinated with the shabby background and low-down ways of her boyfriend Francois (Jacques Dutronc), and despite her middle-class family's objections, she marries him. Unable to keep a job, and without any real skills, he has a hard time supporting them, especially after the birth of their baby. He turns to shoplifting, and she briefly leaves him when she discovers this. Sometime after they get back together, with money still in short supply, she takes a turn at shoplifting too, and gets a kick out of it. ~ Clarke Fountain, All Movie Guide