奥古斯都与路易斯·卢米埃兄弟，是现代电影之父，本片就是为了纪念他们而拍摄的，每位受到邀请的导演，都要回答三个问题：为什么你愿意参与拍摄这部影片；为什么你要拍摄电影；电影是否会消亡？每个导演还要用当初卢米埃兄弟制造的世界上最古老的摄影机拍摄一段52秒钟的短片，而且有三个规则：52秒；不能同步录音；不能重复拍三次以上。

Chaque documentaire traite d'un cinéaste, voire d'une école cinématographique (la Nouvelle Vague...), ou d'une question particulière liée au cinéma (Critique et cinéma...). Le choix des réalisateurs, comme les questions abordées sont très empreintes de la vision des Cahiers du cinéma dont André S. Labarthe est l'un des anciens rédacteurs, Janine Bazin étant par ailleurs l'épouse d'André Bazin, fondateur de la revue.
Sur le plan du traitement audiovisuel, les documentaires sont assez hétérogènes et tentent d'ailleurs de s'accorder au style du réalisateur concerné : une caméra portée en plan séquence pour John Cassavetes, une conversation en voiture pour Abbas Kiarostami... D'une manière générale, les documentaires se gardent de comporter une voix-off et cherchent à donner la parole aux réalisateurs, pénétrer son univers, sans forcément recourir à l'interview.
La série démarre en 1964 sur l'ORTF et se poursuit aujourd'hui sur Arte. En 1989, à l'occasion de sa reprise par Arte, la collection est rebaptisée Cinéma, de notre temps.

克莱尔·丹尼斯的镜头通过白天和夜晚两个部分，勾勒出雅克·里维特的人生轨迹与创作生涯，中间穿插着在巴黎的咖啡馆与影评人塞尔日·达内的讨论。赛尔日·达内在提问、分析、评价，雅克·里维特在自问、回避，短暂地微笑。他的话语中穿插着《巴黎属于我们》、《北方的桥》、《决斗》、《百里挑一》、《疯狂的爱》中的电影片段，还有布鲁·欧吉尔讲述他与里维特这位神秘导演的关系

2015 saw the the digital restoration of Jacques Rivette’s magnum opus OUT 1 (1971) and its revival both in theaters and on Blu-ray and DVD. To coincide with this event, filmmakers Robert Fischer and Wilfried Reichart interviewed cast and crew members and revisited some of the film’s most significant locations. THE MYSTERIES OF PARIS: JACQUES RIVETTE’S »OUT 1« REVISITED features first-hand accounts from actors Bulle Ogier, Michael Lonsdale and Hermine Karagheuz, cinematographer Pierre-William Glenn, assistant director Jean-François Stévenin and producer Stéphane Tchal Gadjieff, but also rare archival interviews with actors Jacques Doniol-Valcroze and Michel Delahaye and, most prominently, illuminating statements by director Jacques Rivette himself from two different archival interviews. Original title: LES MYSTÈRES DE PARIS: OUT 1 DE JACQUES RIVETTE REVISITÉ. Language: French with English subtitles.

新浪潮老将里维特的雄心大作，分战争篇和监狱篇上下两部。本片以德莱叶和布列松为目标，希望成就新的经典。 传奇历史事件「圣女贞德」发生时，以文字记述事件流传出去的方式尚未普及，因此事件留下来的属于史实的原始记录非常的少。但是圣女贞德的故事，却不断出现在文学作品、舞台剧、歌剧（神剧）与各种电影版本中，这背后一定是有它的原因的。
　　
这是圣女贞德生命的一部分。一开始，珍妮(琼饰)已经离开了多雷米，她试图说服一个队长护送她去莫霞。在珍妮在奥尔良的第一次战役中结束。与此同时，珍妮更多地被描绘成一个战士而不是圣人(避免所有的陈词滥调)，只有她对力量的信念。

In this thriller, a UNESCO translator stumbles across a group which is hiding and supporting Nazis and facilitating their travel around the world. She had been given an assignment to study the work of a writer who recently had died, and the conspiracy is revealed in materials he left behind. She comes upon a young man who is going through the writer's papers, and she immediately assumes he must be one of the conspirators. However, he soon convinces her of his innocence in that regard, and the two together begin a search for the ringleader.

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.