Laurent Malet Movies

Master filmmaker Raúl Ruiz adds a black comedy to his far-reaching body of work with That Day, a playful meditation on money, death, and false spirituality. Livia (Elsa Zylberstein) and Pointpoirot (Bernard Girardeau) are, respectively, a spoiled society woman who suffers from delusional visions of heavenly apparitions and a crazed serial killer on the loose after a successful prison break. It isn't long before fate brings the two together, and after thwarting Pointpoirot's initial attempts to murder her, Livia soon warms to the charming sociopath. The duo makes short work of Livia's greedy family -- who were planning on killing her and collecting her fortune, anyway -- and as the death count rises, a romance develops between the two. ~ Michael Hastings, All Movie Guide

Based on a Solzhenitsyn book, this is the story of a Moscow official in Stalinist Russia whose future freedom depends on a technological break-through. ~ Tana Hobart, All Movie Guide

In the made-for-cable thriller Sword of Gideon, a team of anti-terrorist commandos, led by Steven Bauer, sets out to avenge the deaths of Israeli athletes killed during the Munich Olympics of 1972. ~ Stephen Thomas Erlewine, All Movie Guide

Parking is director Jacques Demy's homage to Jean Cocteau's 1948 masterwork Orpheus. As in the Cocteau film, Demy relates the Orpheus and Euridyce legend in a contemporary setting. Now a rock 'n' roll sensation (instead of the poet of the Cocteau film) Orpheus falls in love with Eurydice, who in this version is a sculptress rather than a princess. The rest of the film adheres to the familiar story. Euridyce, who is death personified, beckons Orpheus into Hell, ostensibly to revive his dead lover. A shade brighter and more buoyant than its source material, Parking is the usual Jacques Demy brew of beautiful imagery and hokey dialogue. ~ Hal Erickson, All Movie Guide

The mindless frenzy of sports fans is expertly captured in the first half of this action film by Jean-Pierre Mocky on soccer buffs gone mad. After Maurice, a referee in a soccer match, has retired to spend the night with his lover Martine (Carole Laure) a crowd of angry fans disrupts their plans, obviously with serious mayhem on their minds because of a disputed judgment in the game. Martine and Maurice escape in the nick of time but are hotly pursued through a shopping center, an ominous apartment complex, and several other forbidding venues. Reckless about their own safety, the angry mob takes risks that cause a few accidental deaths -- which only makes their murderous intent more focused. In this second half of the film, the conventional norms of a thriller feature take over, as the pair try to escape to safety -- and the story loses much of its originality. ~ Eleanor Mannikka, All Movie Guide

Through a series of convoluted turns, like a tornado going through Kansas, director Claude Lelouch has managed to keep a vacuum at the center of his film. A corporate executive (Michel Piccoli and a young actress (Evelyne Bouix) suddenly disappear and reappear and disappear, almost as fast as blinking Christmas tree lights. Since neither can remember what is going on, it is likely that they are suffering from the classic "I was kidnapped by an extraterrestrial" syndrome. And in fact, that may be the case because it seems that some ETs wanted to speak through these two people to tell earthlings to quit gearing up their nuclear arsenals. Jean-Louis Trintignant plays an acting teacher and Charles Aznavour plays a restaurant owner in this complex story -- yet both stars cannot carry the film on their own merits. For many viewers the labyrinth that wends its way to the final credits is a bit difficult to follow, and at the center of the labyrinth is a woefully inadequate ending. ~ Eleanor Mannikka, All Movie Guide

A potentially destructive relationship between mother and son is the topic of this drama by Franck Apprederis. Laure (Annie Girardot) has held her own as a successful child psychiatrist for many years. When her adult son Julien (Laurent Malet) shows up after a twelve-year absence, it leads to a rocky, uneasy reunion between the two. Laure must go to Spain for work-related reasons and she and Julien decide to travel together. Once they are on the road and sharing their lives for the first time, her relationship to her son takes on troubling undertones. ~ Eleanor Mannikka, All Movie Guide

Jacco (Laurent Malet) and his buddy Freddie (Michel Montanary) are the shiftless louts who frequent a bar run by Madga (Annie Girardot). Magda is Jacco's mistress, and she looks out for him like a surrogate mother. When Jacco meets Magda's daughter Lise (Evelyne Bouix), he drops Magda and Freddie to concentrate on seducing the young woman. The weak-willed Lise is married off to a businessman by her domineering mother. When Freddie dies, Jacco finds himself all alone and crawls back to Magda -- and is supposedly wiser for his experience. ~ Dan Pavlides, All Movie Guide

Roads to the South is often omitted from the "official" lists of Joseph Losey's films, principally because it was made for French television rather than theatres. Conceived by screenwriter Jorge Semprun and star Yves Montand as a sequel to Alain Resnais' La Guerre est Finie, the film details the further misadventures and disillusionments of Larrea, an aging old-line leftist (Montand). We find the protagonist a member of the European Establishment, embittered because he has been shut out from the radical movement of the 1970s. Now a wealthy author, Larrea from time to time yearns for the excitement of his antifascist days, but the parade has passed him by. He ultimately reverts to his old ways, with startlingly violent results. Co-scripted by director Losey Roads to the South was originally titled Les Routes du Sud. ~ Hal Erickson, All Movie Guide

Making a rare visit to Canada, Claude Chabrol cowrote and directed the low-pressure psychological melodrama Blood Relatives (Les Liens de sang). Donald Sutherland and Donald Pleasence head the cast in this story of the aftermath of a brutal murder. The victim, a 17-year-old girl, was apparently raped before she died, leading Carella (Sutherland) to believe that she was killed by a sex maniac. Pedophile Doniac (Pleasence) tops the suspect list, but don't be too sure. The truth is much "closer to home" than anyone realizes at first. Lisa Langlois, who made something of a career of Canadian scare flicks, makes her screen debut in Blood Relatives; also appearing, is Chabrol's wife Stephane Audran. Blood Relatives was based on a novel by Ed McBain (aka Evan Hunter), of 87th Precinct fame; the film was released in the US in 1981, three years after its completion. ~ Hal Erickson, All Movie Guide

This French comedy stars Laurent Malet as Jacko, an aging delinquent who falls for businessman's fiancee Lise (Evelyne Bouix). ~ Jason Ankeny, All Movie Guide

A sailor learns to take, and give, it like a man in this surrealistic adaptation of writer and thief Jean Genet's novel Querelle de Brest by avant-garde German director Rainer Werner Fassbinder. In a colorful brothel in the port of Brest, proprietor Nono (Gunther Kaufmann) is known for wagering with his customers. Win a throw of the dice, and they get to make love with his wife, Lysiane (Jeanne Moreau); lose, and they must take it from behind by Nono himself. One day, Lysiane reads the tarot for her lover, Robert (Hanno Poschl), and learns in the cards of his intense passion for his brother, Querelle (Brad Davis). Querelle himself soon arrives, and the brothers enact a bizarre greeting halfway between a hug and a wrestling match. Querelle, it seems, is looking for partners in a drug deal; Robert points him in the right direction. An argument about the merits of sex between men soon leads Querelle to murder his fellow smuggler, Vic (Dieter Schidor). Back at the whorehouse, Querelle loses on purpose to Nono and finds he has a taste for passive gay sex. Meanwhile, fellow sailor Gil, who looks exactly like Querelle's brother (and is played by the same actor), murders one of his compatriots after the brute publicly impugns his manhood. Wanted by the police for both his own crime and Querelle's, Gil goes on the lam. Querelle soon crashes his hideout, and an intense bond develops between the two murderers -- a friendship that will lead Querelle to the greatest love, and the greatest treachery, of his life. Director Fassbinder was in the process of editing Querelle when he died of a drug overdose in June 1982. Gunther Kaufmann, who plays Nono, was Fassbinder's ex-lover; the film is dedicated to another former lover, El Hedi Ben Salem, the news of whose suicide had just reached the director. Critically derided even by many of Fassbinder's admirers, Querelle earned a Golden Raspberry award for Worst "Original" Song for "Each Man Kills the Thing He Loves," an Oscar Wilde poem set to music by Peer Raben and sung repeatedly by Jeanne Moreau. Moreau had previously starred in Mademoiselle, a Tony Richardson effort co-scripted by Genet. Look for Frank Ripploh, another pioneering German director, in a cameo. ~ Brian J. Dillard, All Movie Guide

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, All Movie Guide