这是二次大战后的第一部巴黎工人生活写照的法国电影。故事描绘一位女店员和一位男印刷工人的生活与恋情，特别是他们的彩票中了奖，虽然彩票一时遗落，好在后来失而复得。

上集人马重新召集，在20年后与老影迷新影迷一起继续分享他们的爱情故事。已经不再是赛车手的路易正在和一个年轻女子交往，而当上电影制片的安娜却一心想将20年前的罗曼史拍成电影。于是他们重逢，彼此间却也逐渐撩起往昔的情愫。

Father Brown tries to transport a historically important cross to Rome engaging in battles of wits and faith with a thief and pursuing policeman. The thief, named Flambeau (Finch), is a master of disguise and is elusive, as Father Brown pursues him and tries to convince him to abandon his criminal career.
During the making of the film, Alec Guinness was mistaken by a small boy for an actual priest. This episode appears to have played a part in Guinness's later conversion to Roman Catholicism.

Jacques Decrey, an industrialist, finds out that his wife Gloria has a lover. Posing as a man named Berthier, he blackmails her. After a while, Decrey decides to make Yves Normand, a young unemployed actor and Gloria's lover, out to be the blackmailer. But doing so he has set off an infernal machine...

《穿墙人》（Le Passe-Muraille）改编自法国作家马歇尔‧埃梅的著名小说，音乐剧版本曾荣获法国最具权威的Mollier奖（最佳音乐剧奖，最佳导演奖）
电影版由《虎口脱险》男二号布尔维尔主演：一个普通的公务员迪特律（音）有一天突然拥有了能穿墙的特异功能。该剧描述了利用穿墙的功能，洗劫宝石店，帮助邻居的迪特律爱上一位检察官的妻子伊莎贝尔发生的故事。

An unhappily married British security officer stationed in Sierra Leone during WWII falls in love with a young German woman and starts an affair. He soon starts feeling guilty.

The life story of famed French aviatrix Helene Boucher is detailed in Horizons sans fin (Endless Horizons). Giselle Pascal stars as Boucher, who is first seen in 1930, leaving her millinery shop behind in favor of the wild blue yonder. Though the world of aviation was still essentially an all-male one (despite England's Amy Johnson and America's Amelia Earhart), Boucher perseveres, eventually breaking all existing male and female speed and height records. A bit slow on the uptake in the dramatic scenes, the film soars (no pun intended) during the aerial sequences. Horizons san Fin was the winner of the Catholic Award at the 1953 Cannes Film Festival.

Un an après le succès du "Corniaud", Gérard Oury décide de réunir une nouvelle fois à l'écran Louis de Funès et Bourvil, un tandem déjà rôdé. Mais il ne se doutait pas au début de l’aventure qu’il allait réaliser un film aux multiples scènes cultes, dont chacune fût un défi. C’est ce que nous révèle ce documentaire, grâce à des anecdotes, des témoignages, comme celui de la fille de Gérard Oury, Danièle Thompson, coscénariste du film, qui raconte comment son père a appelé Malraux alors ministre de la culture pour obtenir le droit de tourner à l’opéra Garnier.