Jean-Claude Carrière Movies

This routine drama's main distinctions are the musical numbers by Julia Migenes Johnson as a misbehaving singer and the computer-assisted scenes that are melded with actual scenes for the first time in French cinema. The singer has been missing her scheduled performances -- or just simply cuts out half-way through a concert. Since her producer cannot reform her, he funds a computer scientist to come up with a believable hologram that will perform in her place -- and none will be the wiser. Once the hologram is created and up and running, the singer's former lover gets suspicious, and the plot thickens. ~ Eleanor Mannikka, All Movie Guide

This ambitious attempt to film a portion of Marcel Proust's epic novel Remembrance of Things Past stars Jeremy Irons as Charles Swann, a Jewish intellectual who has managed to overcome growing anti-Semitism in 19th century France and travels in an elite social circle. But Swann has become obsessed with Odette (Ornella Muti), a courtesan who cares more for money than Swann's passion for her. In time they marry, but Swann soon realizes his desire for her is based purely on physical lust for someone with whom he has no rapport, or even much affection, and the relationship begins to erode the social acceptance Swann struggled to achieve. Meanwhile, the Baron de Charlus (Alain Delon) finds himself similarly attracted to a young man who does not share his desires. Un Amour de Swann was much praised for its production design and the cinematography of frequent Ingmar Bergman collaborator Sven Nykvist, though many felt director Volker Schlondorff failed to capture the narrative depth and complexity of Proust's novel. ~ Mark Deming, All Movie Guide

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

In 1982, legendary Polish filmmaker Andrzej Wajda fled his homeland and relocated in France to direct this powerful story about the ethical boundaries of power and leadership, which had many parallels to Poland's volatile political situation in the late 1970s and early 1980s. Danton (Gérard Depardieu) and Robespierre (Wojciech Pszoniak) were close friends and fought together in the French Revolution, but by 1793 Robespierre was France's ruler, determined to wipe out opposition with a series of mass executions that became known as the Reign of Terror. Danton, well known as a spokesman of the people, had been living in relative solitude in the French countryside, but he returned to Paris to challenge Robespierre's violent rule and call for the people to demand their rights. Robespierre, however, could not accept such a challenge, even from a friend and colleague, and he blocked out a plan for the capture and execution of Danton and his allies. Wajda remained in France until 1989, when the collapse of Communist rule made it possible for him to return to his homeland. ~ Mark Deming, All Movie Guide

In this downbeat story of life inside a women's prison, there is more crime inside than out. When the inmates see that a woman is soon to be admitted for killing a young boy, they begin to plan her murder. A kind of ad hoc council gets together to decide who will do the deed, and they pick a woman about to be released from jail. The woman does not want to carry out a murder with only a few days left to her sentence, but the weirdly tribal council and their inexplicable dogma of balancing one murder on the outside with another on the inside, force her into accepting. Even the warden is not exempt from immoral and subhuman conduct as she joins in the conspiracy. This is obviously not a film for all viewers. ~ Eleanor Mannikka, All Movie Guide

Bruno Ganz plays a West German journalist whose frequent assignments to war-torn nations have left him jaundiced. He is assigned to cover the civil war in Beirut. The combination of his harrowing experiences on the job and his after-hours relationship with widow Hannah Schygulla affects Ganz deeply, in spite of the wall he's built around himself. He suffers a crisis of conscience when he is forced to commit himself to someone--and something--for the first time in his life. The plot of Circle of Deceit was based on the reminiscences of novelist Nicolas Born; the picture's realism is grotesquely enhanced by the decision to film on location in Beirut, surrounding the actors with genuine wartime carnage--bodies and all. Originally titled Die Falschung, Circle of Deceit is not a comfortable experience, but few will stop watching once the film has started. ~ Hal Erickson, All Movie Guide

In Volker Schlöndorff's award-winning adaptation of Nobel Prize winner Günter Grass' allegorical novel, David Bennent plays Oskar, the young son of a German rural family, circa 1925. On his third birthday, Oskar receives a shiny new tin drum. At this point, rather than mature into one of the miserable specimens of grown-up humanity that he sees around him, he vows never to get any older or any bigger. Whenever the world around him becomes too much to bear, the boy begins to hammer on his drum; should anyone try to take the toy away from him, he emits an ear-piercing scream that literally shatters glass. As Germany goes to hell during the 1930s and '40s, the never-aging Oskar continues savagely beating his drum, serving as the angry conscience of a world gone mad. The intense and visceral Tin Drum was one of the most financially successful German films of the 1970s and won the 1979 Oscar for Best Foreign Film and the 1979 Golden Palm (which it shared with Apocalypse Now). In the late '90s, the film became the center of a censorship controversy when some U.S. videotapes were confiscated because of the film's supposed violation of a child pornography statute. ~ Hal Erickson, All Movie Guide

Sauve Qui Peut (la Vie), a pessimistic but visually stunning film, marks Jean-Luc Godard's return to cinema after having spent the 70s working in video. The film presents a few days in the lives of three people: Paul Godard (Jacques Dutronc ), a television producer; Denise Rimbaud (Nathalie Baye), his co-worker and ex-girlfriend; and Isabelle Riviera (Isabelle Huppert), a prostitute whom Paul has used. Denise wants to break up with Paul and move to the country. Isabelle wants to work for herself instead of her pimp. Paul just wants to survive. Their stories intersect when Paul brings Denise to the country cottage he is trying to rent and Isabelle comes to see it without knowing that the landlord has been her client. The film is broken into segments entitled "The Imaginary," "Commerce," "Life," and "Music." Each of the first three sections focuses on one character and the last section brings all three characters together. This complex film is often closer to an essay than a story; it uses slow motion and experimental techniques to explore questions of love, work, and the nature of cinema. Sauve Qui Peut (la Vie) was Godard's first film with his frequent collaborator Anne-Marie Miéville, who edited and co-wrote the film. ~ Louis Schwartz, All Movie Guide

Made for television, this film tells the story of a doctor who receives an ordinary Polaroid camera from a patient of his and keeps it when the patient dies. Soon he discovers that the camera makes death predictions. ~ Clarke Fountain, All Movie Guide

When a real-estate promoter attempts to take over the homes of two electronics whizzes and boot them out, they contrive ingenious ways to inconvenience and harass him. Louise (Catherine Deneuve) specializes in robots and artificial intelligence, and Leo (Claude Brasseur) makes miniature machines. By pooling their knowledge, they are able to pull off a crucial robbery using a very special box of chocolates. The bond they form while fighting their common enemy transforms into one of love. Despite their victory over the tycoon, they accept the patronage of an Arab king and leave for a place where their unusual skills are appreciated. ~ Clarke Fountain, All Movie Guide

Adapted from Pierre Louys' 1898 novel La Femme et le Pantin, That Obscure Object of Desire is the 30th and final film from the great Luis Buñuel. Recounted in flashback to a group of railway travellers, the story wryly details the romantic perils of Mathieu (Buñuel favorite Fernando Rey), a wealthy, middle-aged French sophisticate who falls desperately in love with his 19-year-old former chambermaid Conchita. Thus begins a surreal game of sexual cat-and-mouse, with Mathieu obsessively attempting to win the girl's affections as she manipulates his carnal desires, each vying to gain absolute control of the other. Brimming with the subversive wit which characterizes all of Buñuel's finest work, That Obscure Object of Desire takes satiric aim at a decadent, decaying society riddled by political unrest and moral bankruptcy. The picture is absurdist even in its casting -- Rey's dialogue was dubbed by the French actor Michel Piccoli, while the two-faced, hot-and-cold Conchita is played, logically enough, by two different actresses (Carole Bouquet and Angela Molina, respectively), with the character's dialogue spoken by yet a third performer. The same Louys novel was also filmed by Josef von Sternberg in 1935 as the Marlene Dietrich vehicle The Devil Is a Woman, and again in 1959 as Julien Duvivier's La Femme et le Pantin, starring Brigitte Bardot. ~ Jason Ankeny, All Movie Guide

During a business trip to Morocco to finalize a deal to build an ugly modern tourist village on the site of a lovely local town, Jean-Luc (Jean-Claude Biraly), the bank representative, is called on by the architect's wife. She has, it seems, accidentally killed her husband during a spat and needs his help to hide the body. Incredibly, he gives it. Then he returns to Paris with the architect's murderous spouse (Marlene Jobert), who proceeds to turn his life upside down with her blithe spirit and joie de vivre. ~ Clarke Fountain, All Movie Guide

After a computer-tested set of features is found to be the face most likely to win the confidence of the French people, Marcel (Jean Carmot), who recently turned down a promotion at his bank in order to spend time with his wife, finds himself swept up into the schemes and shenanigans of the President of France (Michel Lonsdale) to regain the confidence of the French. After being manipulated, used, and worked to the bone, he manages to get a little revenge on the politicians. ~ Clarke Fountain, All Movie Guide