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A young American studying in Paris in 1968 strikes up a friendship with a French brother and sister. Set against the background of the '68 Paris student riots.

In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working-class prophet who predicts the coming of a savior to mediate their differences.

Monsieur Hulot curiously wanders around a high-tech Paris, paralleling a trip with a group of American tourists. Meanwhile, a nightclub/restaurant prepares its opening night, but it's still under construction.

The Biblical story of Noah and the Great Flood, with a parallel story of soldiers in the First World War.

Features rare archival material from the personal collections of Powell, Pressburger and Scorsese.

An extended family split up in France and Germany find themselves on opposing sides of the battlefield during World War I.

In post-WWI Vienna, Greta (Greta Garbo), her kid sister, and retired dad try to make it through tough times.

Thirteen filmmakers talk about Henri Langlois and their relationship with him.

Three men of varying social standing - a viceroy, a bullfighter, and a soldier - vie for the affections of an actress in 18th-century Peru.

Nothing can atone for young "Carrot top"s mother's hatred, nor for his father's indifference. But when his father learns that his son is thinking about committing suicide, he steps in and takes him under his wing.

A couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.

A red-haired boy is his mother's punching bag ; only his father's presence is a great comfort to him,but this weak man is under the shrew's thumb. His pain is so great he feels suicidal.

After the rejection of their latest--preposterous--scenario, two scriptwriters get back to basics to prepare a new movie. The new scenario centers on Henriette, a pretty, lively Parisian, and how she spends the 14th of July in Paris with her fiancé. We follow the tribulations of Henriette as various other characters enter the story and turn a traditional festive day into something more adventurous than expected.

A Broadway matinee idol famous for his black-face portrayals anonymously joins an amateur acting troupe and falls in love with the leading lady.

Female artists, writers, photographers, designers, and adventurers are settled in Paris between the wars.

A look back at Charlie Chaplin's early life and career, from his rough childhood and music hall success in England to his early Hollywood days and the development of his enormously popular "Little Tramp" character.

The international documentary is presenting - besides a lot of funny clips from the best Laurel and Hardy movies

Pierrot waxes romantic, entranced by the moon. Harlequin appears and bullies him, then uses a magic lantern to project an image of Columbine. Pierrot tries to court the illusory Columbine unsuccessfully, then enters a mystical moon-realm from which he returns dead.

Françoise and her husband Jean-Pierre invite some friend couples to spend a weekend in their large villa on the Portuguese coast. What follows is a romantic intrigue, with each character discovering a little more about himself.

Nosferatu, approaching his hundredth birthday, travels to sites used in the film, meets with experts, tells us about his "fathers" (the men who created the film), and reflects on changes in European society and culture since 1922.

An imaginative wedding scene shot in silhouette, begins a tale of murder blackmail and romance covering a period of about 18 years, ending around 1923.

Eric Rohmer leads a conversation with Jean Renoir and Henri Langlois on the art of filmmaker Louis Lumière. The cinematographic pioneer Lumière produced thousands of documentaries in the end of the 19th century, but also some short comedies with amateur actors. The films are done in one shot and are only 1 minute in length. Lumiére and his operators chose a place, put up the camera and then recorded what happened in front of the lens. In spite of this both Renoir and Langlois argue that the films of Lumière are not simply reproductions of reality, but pieces of art. Renoir points out that Lumiére didn't just reproduce the externals of what he saw, but also its spirit and inner life. The films are not only showing a piece of contemporary reality, but Lumière's vision of that reality. Langlois remarks that the films of Lumière were not made at random, but out of a consciously chosen dramaturgy and composition. Lumiére and his team chose, after long deliberations, the motif of the film as well as the camera-angle. There is usually some kind of beginning and end of the film. The main action never occurs in the center of the screen, but either at the right or the left side of it. This means that the main movements happen along a diagonal across the screen, which produces a dynamic impression. The films are made in one shot, but the shots are usually very deep, which means that you get some close-ups in the foreground at the same time as you see something happen in full scale behind that and something else even more far away. The conversation with Renoir and Langlois is interspersed with some of Lumière's films, to underline the arguments.

A bargeman, his wife and sister-in-law navigate the canals of northern Belgium in their two vessels, the eponymous "L'Hirondelle et la Mésange," taking the time to appreciate the sites and landscapes they encounter along their way. Like many in his trade, the mariner supplements his income by transporting occasional contraband. The tranquil rhythms of their nautical lives are interrupted, however, when they hire an ambitious new pilot.

A Ruizian adaptation of Jean-Claude Gallotta's iconic wordless ballet choreography.