Sacha Briquet Movies

This French film is an old-fashioned melodrama with a love triangle, a talented starlet, and a duel. It is set in 1930 when talking films were just coming into vogue and threatening to overshadow theatrical plays. The film features cameos by famed French actors of that time period. Victor Derval is returning home after a performance when he is hailed by Lisa, a young Hungarian woman. Lisa's motives are mysterious; is she simply a star-struck peasant girl, or an ambitious, manipulative aspiring star? Derval is taken with her, and she soon finds herself Derval's personal secretary and is to move into his home where his son Paul, an aspiring writer/revolutionary, also lives. Both men fall for Lisa, who has already fallen in love with the limelight. She will eventually get her wish, but not without paying a price. Though generally beloved by all Parisians, Victor Derval has one detractor, playwright Coste who hates that Derval freely edits his work on stage. Paul, enraged at his father decides to plot revenge, but cannot decide whether he should kill his father or design something a little more creative. ~ Sandra Brennan, All Movie Guide

Romane Bohringer plays a young pianist ekeing out a living in Nazi-occupied Paris. When her favorite coworker, singer (Yelena Safonova), relocates to London, Bohringer goes along, much to the discomfort of Safonova's possessive husband-manager. The latter role is played by Romane Bohringer's father, veteran character actor Richard Bohringer, a fact that adds several subliminal layers to the already multitextured storyline. Avoiding the cruder implications of its material, The Accompanist is a model of taste and decorum -- perhaps too much so. ~ Hal Erickson, All Movie Guide

Without undue melodrama or moral judgment, this evocative French drama paints a painfully realistic portrait of a woman who inexorably destroys her life with her constant fixation on her own needs. She is Camille Valmont, a woman whose lust for fame eclipses every other aspect of her life. By the time she succeeds, she has lost her good husband and two young children. The courts grant her visitation rights with the children every other weekend. Even then, she is so consumed by her career that she rarely avails herself of the rights. Then her career begins to go into a slump. Camille becomes so desperate for money that she must take any job available to get by. One day she gets a short stint working as a Rotary Club hostess in Vichy. Unfortunately, it is on a visitation weekend. To do both, she takes the children with her, something the courts have forbidden her to do. Just before she is to go on stage, her ex-husband calls to tell her that he is coming for the children. She panics, steals a rental car and takes off with the children, neither of whom care much for her, in a desperate, if misguided bid to get closer to them. ~ Sandra Brennan, All Movie Guide

Following up 1964's Academy Award nominated L'Homme de Rio, French filmmaker Philippe de Broca wrote and directed this big-screen adaptation of André Couteaux's novel Un monsieur de compagnie. Jean-Pierre Cassel stars as Antoine, a young man who holds the philosophy "Laziness is the mother of all virtue" close to his heart and spends many dreamy days fishing with his wealthy grandfather. But when he has a prophetic dream that the old man will die impoverished, Antoine is motivated to change his life and try to earn his own money. Also starring Catherine Deneuve and Jean-Pierre Marielle, Un monsieur de compagnie was released in the United States in 1966 under the title Male Companion. ~ Matthew Tobey, All Movie Guide

This black comedy is based on the dastardly deeds of French serial killer Henri-Desire Landru, who wined, dined, scammed, and dismembered over 10 women during WW I. He obtained his victims by placing ads in the Personals section of the paper. He then chose wealthy dowagers in their fifties. First he would woo them to his villa. Then he would con them into forking over their fortunes. Finally he would kill them, chop them up, and immolate the pieces. He is finally captured after he is recognized by the sister of one of the victims. Landru swears that he is not a psychotic killer, that he only did it so he could continue to support his family in the bourgeoisie style that they were accustomed to. During his trial, Landru refused to plead for himself one way or the other; he showed no remorse at all. He was guillotined on February 25, 1922. ~ Sandra Brennan, All Movie Guide

The seven major sins receive treatment from some of France's greatest directors in this lively portmanteau. "Anger" by Dhomme, chronicles a single horrific day when every bowl of soup in France is found to contain a fly. This causes a devastating nationwide revolt. "Envy" by Molinaro tells the story of a chambermaid whose dream of sleeping with a millionaire comes true. Unfortunately, she goes back to work and finds herself still consumed with jealousy. De Broca's "Gluttony" provides one of the film's most enjoyable episodes as it follows the exploits of a voracious family heading off for a funeral. "Lust" by Demy is set at a Parisian sidewalk cafe and eavesdrops upon the lusty conversation between two young men, one of whom has x-ray eyes that enable him to see through women's clothing. "Laziness" by Godard features real life matinee idol Constantine as a movie star who finds himself too sluggish to respond to the starlet trying so hard to seduce him. "Pride" by Roger Vadim tells the satirical tale of a philandering wife who changes her mind and stays with her husband after learning that her happy home is being threatened by another woman. Finally in Chabrol's "Greed," young men who have pooled their meager resources to buy a prostitute, fight for the chance to be with her. ~ Sandra Brennan, All Movie Guide

A generally destructive atmosphere settles over this New Wave drama about a trio of youths looking to debunk hypocrisy wherever they find it. One of the early films by Claude Chabrol, the tale looks at the relationship of Ronald (Jean-Claude Brialy), Ambroisine (Bernadette Lafont), and Arthur (Charles Belmont). Arthur and Ronald have their differences, but the three join up to knock the air out of the wind-bags of pomposity, puncture the veneer of the gallingly elitist art world, and do combat in other arenas where people are less than honest. But Ronald has not forgotten an early offense he suffered at Arthur's hands, and soon the relationships in the trio start to change. ~ Eleanor Mannikka, All Movie Guide