Christophe Odent Movies

Lovers Beatrice Dalle and Wadeck Stanczak can't quite cope with the situation when Dalle becomes pregnant. Stanczak fears that his future as an architect will be scuttled by any parental responsibilities. For her part, Dalle wants to keep the baby, but she also wants to keep Stanczak. Attempting to smooth the waters is the couple's mutual friend Francis Frappat. Chimere was the second feature-film project for director Claire Devers, who rose to prominence on the strength of her award-winning maiden effort Black and White. ~ Hal Erickson, All Movie Guide

First Name: Carmen tells the parallel stories of a quartet rehearsing Beethoven and a group of young people robbing a bank, supposedly to get the funds to make a film. Director Jean-Luc Godard attempts to make a film that resembles a string quartet, each of whose parts serves an abstract whole. The film is a meditation on the difficulties of youth in the 1980s, the relations between cinema and capital, and how to film the human body. Godard fills the film with carefully composed shots of bodies playing music, making love, and acting violently. His attention to bodies in First Name: Carmen makes the film's images very close to sculptures, particularly those of Rodin. The film's engagement with painting and sculpture continues Godard's ongoing investigation of the relationships between cinema and other arts ~ Louis Schwartz, All Movie Guide

In this somewhat literary exploration of the meaning of romance, loosely based on the works of Henry James, five modern-day couples gather at a country estate to mark the anniversary of their long friendship. Their romantic maneuverings, past and present, are too complex to summarize here. However, it is clear that they love to talk about love, and will do so endlessly, given the slightest opportunity. ~ Clarke Fountain, All Movie Guide

The grim post-World War I era in Europe is grist for director Bertrand Tavernier's mill in Life and Nothing But. Philipe Noiret portrays a French major who is supervising the gruesome task of counting and identifying the corpses still strewn over the battlefield. Noiret is obsessed with the notion that, by doing his job above and beyond the call of duty, he can somehow make up for the carnage in which he participated a few years earlier. The major's mission is intercut with short vignettes involving the families and loved ones of the dead, and with the efforts by another officer to find a suitable candidate for an Unknown Soldier testimonial. ~ Hal Erickson, All Movie Guide

Nouvelle Vague marks the beginning of a period in Jean-Luc Godard's career in which he made films that looked back on his previous work. In these retrospective films, Godard asked himself whether it is possible to continue as a film director under the conditions imposed by international commercial cinema. Appropriately enough, Nouvelle Vague concerns the return of a man (Roger Lennox / Richard Lennox, played by Alain Delon, superstar of 60s and 70s international cinema) who may or may not have returned from the dead. The film's narrative is extremely disjointed and might be better understood as an essay on the idea of returning. The theme of a return from the dead gives Godard the opportunity to come back to the religious imagery and theological considerations that interested him from 1983's Hail Mary. The film's dialogue is a patchwork of unattributed quotations from works of literature, philosophy, and economics, a technique that Godard adopted in most of his films after this one. Even if the film's "story" is not easy to understand, the beauty of its images and sounds, along with the sublime rhythms of the editing, may be enough to ravish some audiences. ~ Louis Schwartz, All Movie Guide

During the Nazi occupation of France during World War II, the nation's movie studios continued to operate; some filmmakers and technicians simply went along with what their new leaders demanded in hopes keeping themselves and their families safe, while others sought to subvert the messages of their captors through their work. Safe Conduct, directed by Bertrand Tavernier, is a fact-based period drama which examines two men working for a Parisian film company during 1942 and 1943, as well as their friends, family, and loved ones. Jean Devaivre (played by Jacques Gamblin) is an assistant director for Continental Pictures, a studio which has recently been taken over by the Germans and is headed by Dr. Greven (Christian Berkel), a self-styled aficionado of French filmmaking. With a wife (Marie Desgranges) and a newborn son to support, Devaivre feels he has little choice but to continue with his work, though as he rises from assisting to becoming a full fledged director thanks to the efforts of Maurice Tourneur (Philippe Morier-Genoud), he struggles to work his own views into his pictures as much as he can. Screenwriter Jean Aurenche (Denis Podalydes), a man who lives for wine, women and song (not necessarily in that order), refuses to work for Greven, and as he bounces between his many lovers - actress Suzanne Raymond (Charlotte Kady), no-nonsense streetwalker Olga (Marie Gillain), and soft-hearted Reine (Maria Pitarresi), a struggles to find a way to make a living with his words. Both Devaivre and Aurenche were real-life figures in the French film industry during the occupation, as were many of Safe Conduct's supporting characters; the real life Aurenche went on to write the screenplay for Bertrand Travernier's first feature film. ~ Mark Deming, All Movie Guide

In this beautifully mounted historical drama, Angelo Pardi (Olivier Martinez), an Italian soldier, is fleeing his country in 1832. After the fall of Napoleon, Austria is swooping down on Italy to take control of the nation, and like many patriots, Pardi is hoping to escape to France and fight for their freedom abroad rather than submit to Austrian rule. However, as Pardi discovers upon arival, an epidemic of cholera is sweeping the land, leaving death in its wake and causing most people to be fearful of strangers, who may well be infected. As he tries to outrun a trio of mercenaries who have been hired to take him back to Italy, he finds himself accused by a group of villagers of infecting their water supply. Trying to escape would-be captors on all sides and searching for refuge in a rainstorm, Pardi finds a house and takes shelter inside. Unknown to Pardi, Pauline (Juliette Binoche), the lady of the house, is at home, but to his pleasant surprise, she welcomes him cordially rather than sending him away. It seems that Pauline's husband is missing, and as she desperately wants to find him and Pardi needs to escape to friendlier circumstances, they travel together through the French countryside, hoping to avoid both the disease and the tragedy travelling in its wake. Reportedly the most expensive French production ever made at the time of its release, Le Hussard Sur Le Toit (released in the United States as The Horseman on the Roof) was nominated for ten Cesar Awards (the French Oscar); it won two, for Best Cinematography and Best Sound. ~ Mark Deming, All Movie Guide

The year 1989 marked the 200th anniversary of the French Revolution, and a number of filmmakers put together movies intended to celebrate that event. This historical action drama, based on the book Sous le vent de galerne by Andre Guilloteau looks at some of the less well-known and unappealing consequences of the republican takeover. In 1793, the entire region of Vendee rose up in revolt against the republican French government. Instead of bringing relief from the heavy taxation imposed under the monarchy, the republican government actually raised taxes in the region, and to add insult to injury, also imposed a heavy burden of military conscription ("the draft") on it. In the story, the inhabitants of one of the villages of the region organize under their blacksmith and a local nobleman to fight the government forces, but before they can prepare for a proper battle, they are massacred. ~ Clarke Fountain, All Movie Guide

Director, co-writer, and star Maurice Pialat brought his typically unblinking New Wave style and interest in socially aberrant behavior to this psychological drama, winner of two Cesars (the French equivalent of the Oscar) for Best Film and Most Promising Young Actress (Sondrine Bonnaire). Bonnaire plays Suzanne, a 15-year-old girl who has become sexually promiscuous with anyone who will have her, despite her lack of affection for any of her lovers. The only boy she refuses is Luc (Cyr Boitard), whose feelings for Suzanne are sincere. When Suzanne's beloved father (Pialat) abandons his increasingly neurotic wife (Evelyne Ker), Suzanne's depression and lack of direction deepen. While her mother becomes a screeching mental case, her brother Robert (Dominique Besnehard) begins beating her, although he also harbors a disturbing attraction to Suzanne. In the denouement, Pialat depicts the devastating long-term results of Suzanne's abusive upbringing. Pialat draws powerful performances from his cast, with no finer example than the riveting acting Bonnaire -- in only her second film. ~ Karl Williams, All Movie Guide