Félix Films

In 1943, Joseph, a Jewish man, was arrested by the Germans in front of his 13-year-old daughter, Suzanne, in the apartment where they were hiding. By abandoning his daughter, Joseph saved her life.

Philippe, Didier, Georges and Edina were born on the same day. The three boys have always been in love with Edina, but she's always put them off. They set off in search of her and find her posing for a photographer. Seeing them, she flees and dies in the process. By mutual agreement, the three boys commit suicide to join her.

After giving birth to her first child at age 20, Mona Achache had the idea to make a film on childbirth. She filmed the work of midwives to produce this documentary, which became a reference in more than 500 maternity wards and private midwives' offices in France during birth preparation sessions.

This film, set to Ponta de Lanca Africano (Umbabarauma) by Jorge Ben, was created to accompany Beleza Tropical: Brazil Classics 1, the first in a series of albums compiled by David Byrne to promote the unique music published by Brazilian artists during a repressive period of military rule in the 1970’s-1980’s. The aim was to visually invoke the album’s sensual and lyrical breadth and depth, and to subtly reflect the underlying social and political issues of that time.

In Belgium, Silvio Donati, a young painter, meets Dorothée Yanakov, a rich woman, older than him. Tempted by her money, Silvio marries her. After a time, while in Mykonos for business, Silvio comes across Pascale, his former mistress. Soon, their flame is rekindled and Dorothée instantly becomes a disturbance. The only way out for Silvio is to get rid of his wife...

Michel and Paul earn money from passers-by by doing chalk drawings outside the Louvre. They also make the scene at the hot spots of Paris. Sand is a wealthy and luscious blonde artist who paints nude girls and houses at her loft. When Michel's gorgeous sister shows up from out of town, both Paul and Sand fall for her.

Edouard and Félix work in a real estate agency. One day, they are threatened with dismissal if they don't manage to sell a very isolated house to an elderly, silver and somewhat unusual Englishwoman. In the house, they discover a corpse. The visit is spent dragging the corpse from room to room, cupboard to chest, so as not to frighten the otherwise impressed buyer. But the corpse disappears. He has to be found before the deed can be signed. The two salesmen become detectives, tracking down the dead man's many female acquaintances. All the seducer's conquests are sifted through, to find the one who left her jewels at the scene of the crime.

Within the French judo team, which accepts a camera for the first time, Larbi Benboudaoud, the great favorite, prepares the next world championships. Every day, he sharpens his body and his mind for the fight. The competition is tough. Will he keep his title?

Two ambitious young provincials, Patrick and Michel, go to Paris to seek their fortune. Patrick seems to be the epitome of the up-and-comer at any price: with no scruples whatsoever, he manages to break into the world of finance, i.e. into the home of banker Philippe Haguenauer. He soon becomes the lover of the woman, Hélène, director of a major fashion house, while Philippe, for his part, is having the perfect love affair with Nadine, his secretary. And this with the mutual consent of both spouses. Meanwhile, Michel, shy and sentimental, is looking for a situation, while remaining honest.

Garance has just lost her Wawa. It’s going to be picked up, rolled around, transported, thrown away, carted off, dragged off, snatched up, shot, smashed, trampled, given away, pushed around, stolen, soiled, forgotten, chewed on, slapped, crushed, banged up, and found again. This is the story of the unfortunate trip of a stuffed dog through the streets of Paris.

Includes a number of street interviews with prostitutes regarding their lives, customers, the atmosphere, the tension and the danger surrounding the business.

How do those who may die tomorrow live? Camille visits Louis and then Rosa. These images, shot by Raymond Depardon and Patrick Blossier, introduce her approach. In a playful intimacy, she then begins to film Germaine.

In this mainstream French comedy, a television writer creates a hit series based on the experiences of her housekeeper. The writer Nathalie does this in desperation as she has a deadline and is utterly blocked. She goes to Petlet and begins transcribing her memories of the lively goings on in her rural home village. Each memory is an episode in itself, and the show becomes a smash hit, but when Petlet realizes that her boss has been cashing on her life stories and taking all the credit, she gets angry and quits leaving Nathalie with no maid and no one to watch her children. Later Petlet's adult children demand that their mother return to demand credit and a piece of the action. But Petlet remains undecided.