Film numéro deux

In the aftermath of her tumultuous relationship with a charismatic and manipulative older man, Julie begins to untangle her fraught love for him in making her graduation film, sorting fact from his elaborately constructed fiction.

An unhappily married woman devises a scheme to get rid of her husband.

On trial for murdering his girlfriend, philandering stockbroker Larry Ballentine takes the stand to claim his innocence and describe the actual, but improbable sounding, sequence of events that led to her death.

Three Chaplin silent comedies "A Dog's Life", "Shoulder Arms", and "The Pilgrim" are strung together to form a single feature length film. Chaplin provides new music, narration, and a small amount of new connecting material. "Shoulder Arms" is now described as taking place in a time before "the atom bomb".

Mother, father and daughter go to the park. The women doze off on a bench while the father plays a hide-and-seek game with a girl, blindfolded. Charlie leads him into a lake. Both dozing ladies on the bench fall for Charlie and invite him for dinner. The father returns home with a friend. Charlie rushes upstairs and dresses like a woman, shaving his mustache. Both men fall for Charlie.

Low-budget independent filmmaker Nick Reve tries to keep everything together as his production is plagued with an insecure actress, a megalomaniac star, a pretentious beret-wearing director of photography, and lousy catering.

This special explores the return of Obi-Wan Kenobi and Anakin Skywalker to the screen, as well as Ewan McGregor and Hayden Christensen to their classic roles. Director Deborah Chow leads the cast and crew as they create new heroes and villains that live alongside new incarnations of beloved Star Wars characters, and an epic story that dramatically bridges the saga films.

A shy but ambitious film student falls into an intense, emotionally fraught relationship with a charismatic but untrustworthy older man.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

Charlotte Gainsbourg agrees to play a witch condemned to be burned at the stake in the first film directed by Béatrice Dalle. But the chaotic production, technical problems, and psychotic breakdowns gradually plunge the shoot into a chaos of pure light.

Servais Mont, a freelance photographer who works taking compromising photos, gets fascinated by Nadine Chevalier, a tormented low-budget movie actress married to an eccentric film photo collector.

In London, barrister Anthony Keane takes the case of Maddalena Paradine, a beautiful woman accused of poisoning her blind husband. Though happily married, Keane becomes infatuated with his enigmatic client and convinced of her innocence. His obsession clouds his judgment as he builds a defense implicating her servant, André Latour—an act that leads to devastating consequences both in court and at home.