Documentary about the love-hate relationship between filmmakers and film critics with interviews made at Cannes Film Festival.
Cast (in alphabetical order)
Woody Allen ... Himself
Pedro Almodóvar ... Himself
David Cronenberg ... Himself
Maria de Medeiros ... Herself
Manoel de Oliveira ... Himself
Atom Egoyan ... Himself
Rubens Ewald Filho ... Himself
Nelson Hoineff ... Himself
Christophe Honoré ... Himself
Serge Kaganski ... Himself
Gérard Lefort ... Himself
Ken Loach ... Himself
Michel Piccoli ... Himself
Caetano Veloso ... Himself
Wim Wenders ... Himself

水滑洗凝脂，莉吉雅布拉妮丝全裸登场，在导演兼丈夫博罗夫兹克的镜头下，如笼中白鸽纯洁无瑕，不带半点香艳，是其后《不道德的故事》 （1974）等情色话题作的精神先驱。以油画般美感重塑中世纪氛围，古堡男爵夫人白兰琪倾国倾城，不单令继子心生爱慕，更令到访的帝王及侍卫神魂颠倒，为伊人倾轧角力。男爵（传奇演员米修西蒙）妒火中烧陷入疯狂，终酿成悲剧结局。博氏将激情欲念的残酷与哀愁拍得精准细致，典雅建筑、雕琢装饰在优美摄影下飘逸浓厚欧洲古典气息，足以荣登艺术电影的殿堂。

On the banks of the Rhône, not far from Tain l'Hermitage, Alcide Garonne, an old ferryman - and incidentally a poacher - lives out of wedlock with Victorine Rousset nicknamed Maryse, a colorful tramp. When Garrone's son, Pilou, a worker, falls in love with Augusta, the mayor's daughter, the unconventional old couple tries to protect the unconventional young pair from the disapproval of self righteous villagers.

It is always a great emotion to watch Michel Simon, perhaps the greatest french-speaking comedian ever, whether he appears in Carné's or Duvivier's pre-war masterpieces or in mediocre films by third rate directors. But it is actually the same emotion to watch him in the role of Michel Simon. As noted by Sacha Guitry in the prologue of La Poison, with him there is no reason to stop filming as no one knows when he starts or stops acting. Guitry was perhaps the only established director to trust Michel Simon and offer him major roles at the end of his career which Jean Renoir certainly did not, and this is why it is particularly painful to watch his hypocritical demonstrations of friendship and interest. Renoir's idea was probably to entertain his court of young admirers (Rivette et al.) by showing them some old freak. But in spite of his endless but insignificant talking, Renoir just does not exist in front of Michel Simon.

It is always a great emotion to watch Michel Simon, perhaps the greatest french-speaking comedian ever, whether he appears in Carné's or Duvivier's pre-war masterpieces or in mediocre films by third rate directors. But it is actually the same emotion to watch him in the role of Michel Simon. As noted by Sacha Guitry in the prologue of La Poison, with him there is no reason to stop filming as no one knows when he starts or stops acting. Guitry was perhaps the only established director to trust Michel Simon and offer him major roles at the end of his career which Jean Renoir certainly did not, and this is why it is particularly painful to watch his hypocritical demonstrations of friendship and interest. Renoir's idea was probably to entertain his court of young admirers (Rivette et al.) by showing them some old freak. But in spite of his endless but insignificant talking, Renoir just does not exist in front of Michel Simon.

The struggles of a small business owner come to light in this film by director André Cayatte. The proprietor of a fabric shop, M. Baudu faces stiff competition when a department store moves in across the street, the first of its kind in 1860s Paris. On top of the stresses associated with the rival retailer, Baudu’s niece and two nephews take up residence with him after recently being orphaned. The niece, Denise Baudu, sees the writing on the wall for her uncle’s business so she takes a job as a shop girl with his competitor and despite her success the decision does not register well with the family.

The illegitimate son of a music-hall star and an ambitious politician has grown up to become a journalist. He decides to get back at his father by using blackmail.

Le très doux et gentil Benoît est gardien d'une maison d'arrêt pas comme les autres située à Clouville, petit bourg de la France profonde des années 1950. Le surveillant chef se prend d'affection pour ses «pensionnaires» et a choisi la gentillesse et la diplomatie plutôt que la manière forte. Progressivement et avec la «liberté de mœurs» et une certaine ambiance délurée, la prison devient de plus en plus un refuge agréable et chaleureux, ce qui ne manque pas d'énerver considérablement la tutelle administrative de notre bon Benoît.