François Maistre Movies

O.S.S 117 (Frederick Stafford) is an American CIA operative who is sent to South America to thwart the attempt of a group of underground subversives who want to take over the world. Although classified as a Bond-style spy feature, it lacks the humor and gloss of other films of the genre. Location shots from Brazil are impressive as the sight of routine gun battles. ~ Dan Pavlides, Rovi

During a celebration for the sale of his first book, a young writer is forcibly taken from his girlfriend's home by the special police and subjected to lengthy torture and interrogation. In the meantime, the girl tries to get him released, but no one is willing to tell her where he is, nor are they willing to help her. ~ Clarke Fountain, Rovi

While arch surrealist Luis Bunuel never made a secret of his skepticism about the existence of God, he was also raised as a strict Spanish Catholic and remained fascinated with the church's teaching throughout his life, and his obsessions with both faith and the contradictions of dogma provided the basis for this episodic satiric comedy. Jean (Laurent Terzieff) and Pierre (Paul Frankeur) are two threadbare vagabonds who are making their way from Paris to Spain on a pilgrimage to Santiago de Compostela, where the remains of Saint James are believed to be kept. While Jean and Pierre's journey begins in the 20th Century, as they travel they seemingly develop the ability to move through time and space as they pass through a variety of historical scenes taken from a broad range of theological texts -- and all involving heresy in one form or another. As they walk the long road to Santiago de Compostela (when they can't catch a ride), Jean and Pierre encounter Jesus (Bernard Verley), who decides not to shave his beard to keep his mother happy; a young boy with stigmata and unusual powers; the Marquis de Sade (Michel Piccoli), who patently struggles to teach atheism to a young girl he's captured; an eccentric priest who has an irreversible belief in transubstantiation until he changes his mind; two men who put their debate over Catholic dogma to the test in a duel with swords; and Satan (Pierre Clementi), who shows up just in time for a car wreck. La Voie Lactee (aka The Milky Way) was scripted by Bunuel and his frequent screenwriting collaborator Jean-Claude Carriere; each of the film's historic episodes was adapted faithfully from an actual biblical text or historical account. ~ Mark Deming, Rovi

The joie de vivre of a young Parisian provides the basis for this romantic tale. The hero truly loves everything about life. He is especially fond of young women with he frequently falls in love. The lad lives with his supportive uncle, his brother, and his brother's wife, a former lover of the young man. Also living in the manse is a maid, four enormous dogs, and the man's two illegitimate children whom he adores. His life takes a downward turn when he meets an industrialist's lovely wife and falls in love with her. Unfortunately she does not return his affections. The devastated fellow reacts by playing sad songs on his bassoon while he waits for death. This eccentric behavior charms the woman into changing her mind and running off with him. His restored exuberance is again dampened when he discovers that this beautiful woman is not only a whiner, she is stone cold dead in bed. At the end of the film the fellow is seen flitting off with a new love, a tender young waitress. ~ Sandra Brennan, Rovi

Literary critics long regarded Gustave Flaubert's iconic French novel Madame Bovary as unfilmable (despite several attempts by Vincente Minnelli and others to bring it to the screen), but Nouvelle Vague architect Claude Chabrol set out to definitively prove them wrong with this Oscar-nominated feature adaptation from 1991, starring Isabelle Huppert (The Lacemaker). Huppert stars as Emma Bovary, a woman whose happiness depends exclusively on elements outside of herself. She spends her days indulging in flights of fancy and endless romantic longings, emotionally estranged from her good-natured but ignorant husband Charles (Jean-François Balmer) a physician whom she married as an escape from her landowner father's farm. Her fate seems poised to change when she meets and falls hard for Rodolphe Boulanger (Christophe Malavoy) - a lover who takes her to bed and then vows to elope with her. Pinning all of her hopes on this, she invests in a traveling costume that she's unable to afford (rendering herself completely in debt with a local millner), and plans to skip town with Rodolphe when the monies come due. Alas, Rodolphe, as it turns out, never planned to follow through with the elopement plans, and promptly abandons Emma, leaving her to face the dire consequences of her foolish decisions. ~ Nathan Southern, Rovi

Paris Nous Appartient begins at the end-with a mysterious suicide. Curious as to why a young Spaniard would take his own life, Betty Schneider visits many of the places frequented by the dead youth. She learns from theatre-director Giani Esposito that the suicide victim was part of a sinister international conspiracy. She further learns from American-expatriate Daniel Crohem that Esposito has also been targeted for persecution by the conspirators. By the time Schneider realizes that the conspiracy was merely a figment of the neurotic Crohem's imagination, the terrified Esposito has killed himself. The intrigues of the plot take second place to the film's centerpiece: an eternally-in-progress stage production of Shakespeare's Pericles, Prince of Tyre. Now regarded as one of the pioneering efforts in the French "New Wave" movement, Paris Belongs to Us was also the first feature-length effort of director (and former critic and film theorist) Jacques Rivette. ~ Hal Erickson, Rovi

The women in this story are the customers of amateur abortionist Isabelle Huppert. The time is 1941, and the place is a Nazi-occupied French town. Struggling to survive, Huppert turns to illegally terminating unwanted pregnancies for a hefty fee. As her income increases, Huppert moves her family from their grimy surroundings to a posh apartment, sharing her digs with her new friend, prostitute Marie Trintignant. Completely seduced by her affluent lifestyle, Huppert ignores her shell-shocked husband Francois Cluzet, preferring to dally with Nazi collaborator Nils Tavernier. Things take a disastrous turn after one of Huppert's "customers" dies and her disgruntled husband turns her over to the authorities. Story of Women was inspired by the real-life tale of Marie-Louise Girard, who in 1943 was executed by the Vichy Government, who'd declared abortion as a Crime Against the State because it diminished the number of potential soldiers. ~ Hal Erickson, Rovi

Co-written by Caroline Eliacheff, Claude Chabrol's La Fleur Du Mal (The Flower of Evil) concerns three generations of the bourgeois Charpin-Vasseur family. The story opens in the present day with a murder occurring during a local election and son Francois (Benoit Magimel) returning home to Bordeaux after four years in the U.S. His father Gerard (Bernard Le Coq) is a suave and successful pharmaceutical manufacturer, while his stepmother Anne (Nathalie Baye) is in the process of running for local office.
Francois has long harbored a strong interest in Anne's daughter, psychology student Michele (Melanie Doutey), and - despite the fact that they are related in various ways - they begin a torrid affair. Then, right before election night, a letter appears, revealing negative information about the family's past concerning the elderly Aunt Line's (Suzanne Flon) connection to a crime dating back to WWII. La Fleur Du Mal was nominated for the Golden Bear at the 2003 Berlin International Film Festival. ~ Andrea LeVasseur, Rovi

One of Luis Buñuel's most episodic films, The Phantom of Liberty focuses on no one particular narrative. In the beginning, a man sells postcards of French tourist attractions, calling them "pornographic." A sniper in Montparnasse is hailed as a hero for killing passersby. A "missing" child helps the police fill out the report on her. A group of monks play poker, using religious medallions as chips, and in the most infamous sequence, a formally dressed social group gathers at toilets around a table, occasionally excusing themselves to go into little stalls in a private room to eat. ~ John Voorhees, Rovi