Alexandre Rignault Movies

Alain Tescique (Jean Rochefort) is in Paris on a brief vacation from his job on a North Sea oil rig, and while he is playing around with a ham radio set he bought for his son, he picks up some suspicious conversations in a neighboring apartment. After some more eavesdropping, he hears about an important rendezvous and then manages to steal a coded message that seems to be about an imminent assassination. His worries increase when the couple in the nearby apartment are found murdered, and their assassin is described as someone who looks just like himself. Although he is upset and indecisive, his fears are assuaged by Daniel, the neighbor across from him (Jean-Pierre Marielle) and Beatrice (Dominique Sanda), a new romantic interest he met by accident. What he does not know is that Beatrice and Daniel were planted by an underground organization to get their hands on the coded document and force him into suicide. Without knowing it, his situation is much worse than what he had imagined and it seems like only a miracle can save him now. ~ Eleanor Mannikka, All Movie Guide

Numéro Deux marks the high point of co-directors Jean-Luc Godard and Anne-Marie Miéville's experimentation with video. They present a set of scenes from the everyday interactions of a working class family. The body of the film was initially shot on video, then played back on monitors and filmed in 35 millimeter. The screen often shows two scenes being played back on two different monitors, each split into two video images. The filmmakers used this technique to invent a new form of editing that juxtaposes images presented at the same time instead of one after another as in traditional editing. Like most of Miéville and Godard's early collaborations Numéro Deux examines the relationship between love, work, sex, gender and representation. In addition Numéro deux presents a fascinating philosophical investigation of the status of children in modern life. ~ Louis Schwartz, All Movie Guide

French director Georges Franju's Eyes Without a Face (Les Yeux Sans Visage) is an unsettling, sometimes poetic horror film. Pierre Brasseur plays a brilliant plastic surgeon, Prof. Genessier, who has vowed to restore the face of his daughter, Christiane (Edith Scob), who was mutilated in an automobile accident. With the help of his assistant (Alida Valli), he kidnaps young women, surgically removes their facial features, and attempts to graft their beauty onto his daughter's hideous countenance. This naturally has an adverse effect on the "donors," some of whom commit suicide rather than go through life faceless. Franju's haunting, muted handling of basic horror material is what lifts Eyes Without a Face out of the ordinary and into the realm of near-classic. When the film failed to draw crowds under its original title, however, the distributors decided to exploit it as a two-bit "scare" flick with the new title The Horror Chamber of Dr. Faustus. ~ Hal Erickson, All Movie Guide

American in Paris star Gene Kelly returned to the City of Light as both star and director of The Happy Road. Kelly and Barbara Laage play single parents with one child each. Gene and Barbara don't know each other at the outset, but are drawn together when their kids run away from their Swiss boarding school. Kelly and Laage realize that the two children wouldn't be so unhappy with their lot if their parents would marry again. The parents, having fallen in love, oblige. The Happy Road tends to bludgeon its audience with whimsy at time; Gene Kelly, as always, is charming, and less affected than usual. ~ Hal Erickson, All Movie Guide

Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1962 Cannes Film Festival. ~ Hal Erickson, All Movie Guide