A.J. Films

Hélène Masson visits her friend Gérôme Savignat in the isolated rejuvenation clinic owned by Dr. Devilers and his partner Dr. Berbard. But after a series of tragic events, Hélène goes further in her investigation of the clinic.

Doctor Valois has invented the "flashage", a cure for depressed people. After having tested it on monkeys, he tries with a first human patient, Alain Durieux. This is great success, everybody's happy except may be Alain's wife, Jeanne, who's worrying about the changes in Alain's personality. Other patients use the treatment with similar successes, and Valois's happy about it. But the monkeys are changing: non-cured ones are made mad by the over-stability and stereotyped behaviour of the cured ones. So are the humans. When Valois realises he can't stop the process, he decides to "flash" himself.

Two cartoonists meet a playboy who lives out the fantasies created in their cartoons. He hires them to create a new comic strip. As they work on the new strip, the playboy begins to live it out. Unfortunately, the new strip deals with murder.

French cybernetics genius Victor Frankenstein carries on the work of his notorious ancestor and creates a monster, albeit one with a penchant for philosophy, etiquette and occasional bouts of murderous rage. But when the creature develops a hunger for l'amour, Frankenstein and his understanding fiancé use a cache of freshly murdered strippers to build the creature a beautiful yet dutiful bride. Can the undead find true love in a cold world, or will the French ways of passion unleash some monstrous surprises upon them all?

After several inhabitants of a new city were bitten by dogs, a young doctor tries to stop to the climb of violence.

A Paris real estate developer feels compelled to withdraw from his seemingly perfect life into a world of his own. Is the man going insane? By conventional standards, maybe, but it's clear that the life he's fleeing is madder still from his point of view, and since that point of view is unfailingly witty and astute, we even come to accept his delusions as more "real" than reality.

When Catherine is caught with her illicit lover by her father-in-law Paul, the concerned father leaves to tell his son Thomas about the incident. Paul is injured in an auto accident and returns home in a wheelchair unable to speak. Catherine's guilt weighs heavily on her as she hopes to never let Thomas know she was unfaithful. She panics and seeks a way to eliminate Paul in this psychological thriller.

The film documents an old drifter in Paris in the poetic realist style