Daniel Toscan du Plantier Movies

Pierre Schoendoerffer has made many film about the French in Indochina, and Above the Clouds finds the 75-year-old director covering that territory again. A female journalist (Florence Darel) becomes obsessed with finding out what happened to Henri Lanvern (Jacques Perrin), a filmmaker who disappeared while shooting in Thailand in 1978. Although it appears that many of the men in her life have some of the answers for which she is looking, the reporter remains cut off from the truth. Because this film features many performers who have previously worked with the director, Schoendoerffer utilizes clips from his old films in order to provide flashbacks for this film. Above the Clouds was screened out of competition at the Montreal World Film Festival. ~ Perry Seibert, All Movie Guide

The foibles of a group of genial eccentrics scattered through the city of Nantes set the stage for this comedy-drama, taking place during one particular Wednesday. Martin Socoa (Vincent Lindon) is a well-meaning loser juggling more than his share of problems when, after a marathon card game, he remembers it's his day to look after Victoria (Victoria Lafaurie), his daughter from his first failed marriage. It's an especially bad day for Martin to play babysitter; he needs to close an important deal at work, he has a court date involving unpaid alimony, and his girlfriend (Catherine Frot) thinks its time she gave him the boot. Meanwhile, a group of kids discover a three-year-old who has managed to wander away from his parents, and they watch after him for the rest of the day, preferring not to get any grownups involved. Elsewhere, as Chief of Police Pelloutier (Olivier Gourmet) has to deal with unrepentant shoplifter Marie Therese (Armelle), his wife Marie (Anne Le Ny) prepares for a trip out of town related to her position in the Navy, even though she's in the last month of pregnancy. And two pairs of love-struck teenagers each figure out their own ways to slip away from their parents as they set out for a romantic trip on the Loire River. The film's French title, Mercredi, Folle Journee!, roughly translates into English as Wednesday -- Crazy Day!; one unstated plot point that may be lost on audiences outside Europe is that many French schools are traditionally closed on Wednesdays. ~ Mark Deming, All Movie Guide

Maverick director Melvin Van Peebles translates his own satirical novel to the screen with this multi-national portrait of race, class, and hypocrisy. The film's title refers to the name of a haute cuisine restaurant run by a self-satisfied conservative couple, Henri (Jacques Boudet) and Loretta (Andrea Ferreol). When the two find themselves overworked in the kitchen, they retreat to the local orphanage to find some cheap waitressing help, and the teenaged Diamantine (Meiji U Tum'si) fits the bill perfectly. The haughty couple has more plans for the girl than just waiting tables, however -- the conspicuously accommodating Henri and Loretta are actually bad-mouthing the girl behind her back to the townspeople and the restaurant's patrons. They go so far as to ask the naive Diamantine to pretend that she's pregnant, and she complies under the assumption that it's a harmless prank. When their intentions are revealed, however, the girl becomes wise to the couple's self-satisfied scheming, and sets her sights on revenge. Set in late-1960s France, the film was shot entirely on digital video and then transferred to 35mm prints; Van Peebles composed the score himself. Le Conte du Ventre Plein was first shown as a special presentation at the 2000 Cannes Film Festival. ~ Michael Hastings, All Movie Guide

Lebanese director Randa Chahal Sabbag spins this bleak war drama about the brutal absurdity of the urban warfare of Beirut during the 1980s. Opening with the shocking image of kittens being blown apart, the film loosely follows the travails of Bernadette (Nada Ghosn), a naïve country girl sent to the city as a maid for a mansion long since abandoned by the owners. There she meets Therese (Renee Dick), a veteran house cleaner who takes her under her wing. One day, while accompanying her friend to the cemetery, she meets a rakish Arab militiaman, and the two fall in love. This film was screened at the 1999 Venice Film Festival. ~ Jonathan Crow, All Movie Guide

Cuca Canals and director Bigas Luna (Jamon, Jamon) adapted Didier Decoin's novel, winner of the Goncourt Prize, for this period film, a Spanish-French-Italian co-production. French foundry worker Horty (Oliver Martinez), married to Zoe (Romane Bohringer), wins a competition of strength. His prize is a trip to witness the Titanic's launch from Southhampton. At his hotel room, Marie (Aitana Sanchez-Gijon) tells him that she is a Titanic chambermaid with nowhere to stay. Although she sleeps in his bed, they don't have sex. When Horty awakens, she's gone. Later, he spots a photographer taking her picture and buys the photograph. Horty returns to France, where he hears rumors that his wife Zoe has been sleeping with the foundry boss. After his drinking buddies find the photo of Marie, they ask him about her, and he begins to fabricate a tale -- seen in flashbacks -- of his encounters with Marie, a story which increases in eroticism as he retells it night after night with increasing theatrical flourishes and embellishments. Southhampton scenes were actually filmed in Trieste. ~ Bhob Stewart, All Movie Guide

Philippe de Morannes has an agreement with his girlfriend, the well-known actress Paulette Nanteuil. Either one of them can sleep with someone else if they give their partner a day's notice. In the six years they have been living together, this agreement has not been an issue. Philippe is researching a book about Carl Herickson, an international screen star. One day, while waiting in the star's suite for him to return, he encoutners Claudine, a friend of Paulette's who is a journalist doing an interview of the star. In the midst of a mild but very witty flirtation with her, the star arrives, and expresses a wish to see a local theatrical performance. Hardly thinking about it, he recommends his wife's current play. In a series of misadventures, the film star and the stage star wind up sleeping together. The next day, Philippe and Paulette have a heated and funny discussion about who was unfaithful to whom. This comedy is a remake of the 1938 film Quadrille, by Sacha Guitry. ~ Clarke Fountain, All Movie Guide

Fast-paced, funny and bursting with erotic joie-de-vivre, this outing from the always irreverent Catalan filmmaker Bigas Luna follows the lusty adventures of the bouncy Bambola and her peroxide-blond, gay brother Flavio. Their fun begins shortly after the death of their Mamma Greta, the owner of a ramshackle trattoria located beside the Po River on Italy's northern plains. Following the funeral, the two siblings decide to fix up the cafe, but first they need money. Their quest leads them to fatso financier Ugo. Barely able to control his lust for the buxom Bambola, he helps them, but when she starts batting eyes at the handsome swimmer Setimio (whom Flavio also desires), a tragedy ensues that results in Ugo's death and Setimio's incarceration. Brother and sister visit him in prison and one day, she attracts the attention of the beastly inmate Furio. Jealous of her relationship with Setimio, Furio orders him gang raped. The event is life changing for Setimio who suddenly looks at Flavio with new, wanting eyes. At the same time, Bambola goes to Furio's cell to engage in a fast, furious coupling that leaves her crazy for more. Upon his release, Furio heads for the trattoria to continue the affair. But trouble comes when Furio refuses to move the relationship beyond their beastly wrangling. He goes too far one night when he comes to bed with a live eel for Bambola to play with. ~ Sandra Brennan, All Movie Guide

Not a strict adaptation of the oft-filmed Victor Hugo classic, director Claude Lelouch's ambitious epic instead focuses on the story of two men, a father and a son, whose life stories bear striking similarities to Hugo's character Jean Valjean. The father is Henri Fortin (Jean-Paul Belmondo), a chauffeur (in 1900) wrongly accused of his employer's murder. Like Valjean, he is subjected to a harsh and unfair prison sentence. While Henri vainly attempts to escape his unjust fate, his family suffers, with his wife forced to raise their young son alone. The film jumps ahead several decades to show the adult life of this son (also Belmondo), a former boxer turned furniture mover who agrees to help smuggle a Jewish lawyer (Michel Boujenah) out of France during the Nazi occupation. Along the way, the lawyer reads to the younger Fortin from Les Misérables, and Fortin begins to imagine himself in the role of Jean Valjean, on the run from the obsessive Inspector Javert. ~ Judd Blaise, All Movie Guide

In this erotic, melodramatic thriller set in rundown apartment block in Petrograd (now St. Petersburg), Russia during the 1920's, a woman prowls the alleys to exact her revenge. It is based on a novel by Yevgyeni Zamyatin. Sofia lives in an apartment with her hard-working husband Trofim. She is a good wife. Together they share a vigorous sex-life only marred by her failure to conceive. The insecure woman, to keep her husband from straying, adopts a Ganka, a 13-year old orphan. The dark-eyed girl is beautiful and it soon becomes obvious that Trofim is attracted to her. Time passes and sure enough, he ends up sleeping with her too. This does not set will with Sofia. She begins to plot Ganka's demise after the girl fails to die during a flood. ~ Sandra Brennan, All Movie Guide

Thérèse was convicted of murders committed through terrorist acts; Henriette was convicted of negligent homicide in the death of her child; Raïssa murdered her husband. These three felons are on a train from one holding area to another. While the train is stalled in Lyons due to a railway strike, the three escape supervision and strike out on their own. For a while, they simply stay together and rejoice in their newfound freedom, but soon they quarrel and each seeks to make their escape more permanent. However, none of their efforts to contact helpful outsiders works, and soon it is the middle of the night. They meet back in a park and decide to try and pick up some men instead. When the strike ends the next morning, they are actually considering returning to prison. ~ Clarke Fountain, All Movie Guide

Running nearly three hours, Maurice Pialat's Van Gogh is a leisurely paced look at the famous painter's final year. Pialat's portrait differs from many other films in that he shows Van Gogh (Jacques Dutronc) as being reasonably sane and he focuses on the everyday events of the painter's life and art. ~ Stephen Thomas Erlewine, All Movie Guide

This is probably Peter Greenaway's most famous (or infamous) film, which first shocked audiences at the 1989 Cannes Film Festival and then on both sides of the Atlantic. A gang leader (Michael Gambon), accompanied by his wife (Helen Mirren) and his associates, entertains himself every night in a fancy French restaurant that he has recently bought. Having tired of her sadistic, boorish husband, the wife finds herself a lover (Alan Howard) and makes love to him in the restaurant's coziest places with the silent permission of the cook (Richard Bohringer). Though less cerebral than Greenaway's other films, featuring deadly passions reminiscent of Jacobean revenge tragedies of the early 17th century, the picture still offers the director's usual ironic and paradoxical comments on the relations between eating and sex, love and death. The film is at once funny and horrific, and those who are not used to Greenaway's peculiar style might be even disgusted or shocked; however, one might mention Sacha Vierny's brilliant camerawork, Jean-Paul Gaultier's gaudily stylized costumes, and Michael Nyman's somber, pulsating music, which will haunt the viewer long after the film's end. ~ Yuri German, All Movie Guide

Writer-director Jean-Charles Tacchella, who had a huge international hit with Cousin, Cousine in 1975, helmed this drama 12 years later. In post-WWII France, three friends are intent on starting a film club for different reasons. Nino (Thierry Fremont), a rich playboy, thinks that it would be amusing to become a director. He hooks up with Donald (Simon de la Brosse), a young man from the countryside who is a serious student of film and hopes to become more urbane by getting involved in cinema. They join forces with Barbara (Ann-Gisele Glass), a young woman who knows how to get into a film warehouse. Their plan is to steal old prints from the warehouse and start their own enterprise. ~ Michael Betzold, All Movie Guide