FR3

Industrious accountant David Martinaud claims to be visiting his parents every weekend, but it's merely a cover for the labor-intensive refurbishing of his country cottage. The reason for David's secrecy is that his childhood crush, Lise, lives nearby, and, although she's married, he still believes they'll get together. His devotion to the idea borders on mania, and, when Lise's husband is accidentally killed, he quickly spirals out of control.

The "black robe" in the title of this suspense film belongs to a female lawyer, Florence Nat who has just lost a case in which she defended Simon Risler, a man wrongly accused of murder. Risler escapes before he can be put in prison, and seeks help from attorney Nat in finding the real killer, partly by going after the police inspector who framed him in the first place. A retired surgeon, in the process of setting up a drug rehab clinic gets involved in solving Risler's case, and soon the solution seems to be pointing to high-ranking figures with every desire and ample means to keep the truth well-hidden.

A woman accused of murder escapes an asylum and her psychiatrist tries to find her.

At the end of the nineteenth century, an army force led by Major Mouzinho de Albuquerque, a cavalry officer, imprisoned in Mozambique the tribal chief Gungunhana, who had rebelled against Portuguese government and sovereignty. Mouzinho instantly becomes a national hero but his raising popularity worries the State.

A look into the 25 years of career of famous musician Chico Buarque and his influence in Brazilian culture.

After a long journey, Alain arrives at the Usher mansion to visit his old friend, Roderick Usher. Upon arriving, however, he discovers that Roderick and his sister, Madeline, have been afflicted with a mysterious malady: Roderick's senses have become painfully acute, while Madeline has become nearly catatonic.

Village of Artigat, southern France, summer 1542, during the reign of Francis I. Martin Guerre and Bertrande de Rols marry. A few years later, accused of having committed a robbery, Martin suddenly disappears. When, almost a decade later, a man arrives in Artigat claiming to be Martin, the Guerre family recognizes him as such; but doubts soon arise about his true identity.

Film based on the lyrical tragedy of the same name by Jean Cocteau and Francis Poulenc, directed by Alain Françon at the Théâtre du Châtelet.

In this complex chronicle of the evolution of a provincial family's life, the story follows three generations of at least two neighboring families from the 1890s to the 1970s. In one of many related tales, a man who was engaged to the older daughter of a farmer elopes with the younger one. After many years and the birth of five children, the man leaves his wife and family for the bright lights of the city but continues turning up from time to time, until he is finally taken into the home of one of his sons when he is a quite old man. The complex interactions of the legitimate and illegitimate children of a womanizing miner give rise to yet another set of related stories.

When Santa receives Hans' letter too late to deliver him a toy, Santa and the Tooth Fairies join forces to finish Hans' present before midnight strikes.

When a real-estate promoter attempts to take over the homes of two electronics whizzes and boot them out, they contrive ingenious ways to inconvenience and harass him. By pooling their knowledge, they are able to pull off a crucial robbery using a very special box of chocolates.

Julien est envoyé par son patron à l'île Maurice, où il fait la connaissance d'Henri, un chômeur professionnel. Un soir de beuverie, les deux hommes se soulagent au pied d'une statue sacrée. Offensés par ce sacrilège, les dieux les punissent en leur ôtant leur reflet et en les faisant léviter. Si cette situation leur paraît au début invivable, les deux hommes finissent cependant par tirer parti de ces désavantages pour régler leurs problèmes personnels.

The young teacher Marelle goes in search of her husband who mysteriously disappeared while attending the funeral of a childhood friend.

When Peter, Margaux's American writer husband, leaves Paris in a funk and heads home, she finds herself the single parent of two near teens. She also gets a new assignment at work: to find, sign, and promote new rock singers. She discovers a duo, Jeremy and Michel, and jump-starts their music careers. Jeremy is attracted to the older Margaux, asserts himself with her, befriends her children, and neglects Michel and their music. The kids go to New York to be with their father Peter, freeing Margaux to respond to Jeremy. Does that relationship have any future? And what of the musical duo?

Roland des Roncesvalles is a legendary knight from the age of chivalry in France. In the 11th-century epic La Chanson de Roland, he is depicted as a key figure in halting the advance of the Arabs into France. In this story, the 10th-century legend is staged by a group of 12th-century pilgrims using the 11th-century poem. Their acting is interrupted by a violent peasant uprising, which kills many of the pilgrims. However, one of the survivors, is converted to the peasant cause and later speaks out in favor of more just treatment for the downtrodden.

Narcoleptic Finnish naturist as beautiful as Venus is on vacation in Southern France with her husband. She goes for a walk in the field naked and gets lost. A local kid takes her to his village to help her as well as brag to his friends.

Mircea Eliade was a traditionalist Romanian novelist and philosopher. Following the disaster of the Second World War, he moved to Paris and Chicago, becoming a respected and influential historian of religions. He acquired something of the status of a guru, as poignantly told in the 1987 documentary Mircea Eliade et la redécouverte du sacré. The film features interviews with Eliade at the end of his life, artfully spliced with cuts to religious imagery on a background of moving spiritual music. It was released in 1987, the year after his death.

Documentary on State terrorism during the last military dictatorship in Argentina, made in its aftermath. Invited by the Goethe-Institut to hold a workshop with young film students, Schroeter contrasts the official statements of the regime with the testimony of victims, dissidents and relatives of the disappeared. And trust that their faces and words will resonate much more than a mere representation of violence.