巴黎之巅，埃菲尔铁塔二层，一对新婚夫妇正要行礼，却被接连不断的荒诞打断，现实与幻觉、技术与情感、庄重与滑稽交缠,婚礼终成一场超荷尔蒙盛宴的大游行。这部剧用光怪陆离的情节与游戏的语调，揭示了文明表象下的荒谬本质，讽刺了现代社会的虚假秩序与人类的集体幻想。

A revelational sexual encounter with a young artist sets protagonist Leo off on a spiral of questioning his relationship with boyfriend Raul, ultimately breaking things off. While a desperate Raul tries to talk his ex into returning over the phone, Leo’s gaze keeps darting to the center of the room he has found himself in. There, a coffin rests with its door open. In the pursuit of a fulfilling life, what are we willing to sacrifice?

讲述了一个被忽视的女人的孤独，她在与情人的电话中……

Act 1
The Narrator greets the audience, explaining the nature of the drama they are about to see, and setting the scene: Thebes is suffering from a plague, and the men of the city lament it loudly. Œdipus, king of Thebes and conqueror of the Sphinx, promises to save the city. Creon, brother-in-law to Œdipus, returns from the oracle at Delphi and declaims the words of the gods: Thebes is harboring the murderer of Laius, the previous king. It is the murderer who has brought the plague upon the city. Œdipus promises to discover the murderer and cast him out. He questions Tiresias, the soothsayer, who at first refuses to speak. Angered at this silence, Œdipus accuses him of being the murderer himself. Provoked, Tiresias speaks at last, stating that the murderer of the king is a king. Terrified, Œdipus then accuses Tiresias of being in league with Creon, whom he believes covets the throne. With a flourish from the chorus, Jocasta appears.
Act 2
Jocasta calms the dispute by telling all that the oracles always lie. An oracle had predicted that Laius would die at his son's hand, when in fact he was murdered by bandits at the crossing of three roads. This frightens Œdipus further: he recalls killing an old man at a crossroads before coming to Thebes. A messenger arrives: King Polybus of Corinth, whom Œdipus believes to be his father, has died. However, it is now revealed that Polybus was only the foster-father of Œdipus, who had been, in fact, a foundling. An ancient shepherd arrives: it was he who had found the child Œdipus in the mountains. Jocasta, realizing the truth, flees. At last, the messenger and shepherd state the truth openly: Œdipus is the child of Laius and Jocasta, killer of his father, husband of his mother. Shattered, Œdipus leaves. The messenger reports the death of Jocasta: she has hanged herself in her chambers. Œdipus breaks into her room and puts out his eyes with her pin. He departs Thebes forever as the chorus at first vents their anger, and then mourns the loss of the king they loved.

根据Jean Cocteau的剧本改编成的电影。
Excellent Argentinian Saslavsky started his career in Spain with this adaption of a story by Cocteau. Set in Tangier but shot in Spain, the plot concerns a woman (Felix) who loses her memory after killing her husband who was about to divorce her because of her affair with Maurizio (Gassman). The dazed murderess befriended by a young engineer (Brazzi) but her lover catches up with her and forces her to reveal where her rich husband's jewels were hidden. Since she put them in the coffin together with the corpse, the murder is discovered but Gassman becomes the main suspect and, in a desperate bid to escape, he is killed. The end sees the unfortunate adulteress sink into madness as she embraces the dead body of the only man she really loved. The plot is unraveled through numerous flashbacks and punctuated with dream sequences full of hallucinatory images of witches, clutching hands emerging from a grave, the black-clad widow being pursued by a dwarf in a brilliant white cemetery, and the symbolic black crown itself: the formation of ravens as they circle above a corpse. The movie was released in Italy as 'La corona nera'. Saslavsky made other films in Europe but none justified the reputation which had preceded him on his arrival from Argentina. Produced by Suevia Films, Madrid.

'Human Voice' is based on Jean Cocteau's iconic one woman play of the same name. Set against the backdrop of Naples, Italy, in 1950, this romantic drama tells the story of Angela, (played by Sophia Loren), a woman in the twilight of her years who rides the emotional roller coaster of her last telephone conversation with the man she loves as he is leaving her for another woman.

This is not the end of the Cocteau story, of course, for as we have constantly witnessed, he is always oriented towards the future due to his undimmed faith in the creative act, and none more so than in the medium of film. Indeed, he was even more advanced in his preparations for death and the after-life of his work than originally thought.
Just a couple of months before his death, in August 1963, he made one last film: a 25-minute short entitled Jean Cocteau s’adresse à l’an 2000 (Cocteau addresses the year 2000). The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was wrapped up, sealed and posted on the understanding that it would be opened only in the year 2000 (as it turned out, it was discovered and exhumed a few years shy of that date). If in The Testament Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time in the same buckskin jacket and tie while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state: by the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead.
Temporality is typically skewed: speaking from both 1963 and 2000 Cocteau is at once nostalgic for the present that will have passed and prophetic about the future. There is thus both a documentary aspect and projective thrust to the film, another new configuration of ‘superior realism’ and fantasy enhanced by Cocteau’s seamless performance as himself and his now ‘immortal’ status as a member of the Académie Française. He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising, as when Cocteau pours vitriolic scorn on the many awards bestowed upon him, which he calls ‘transcendent punishments’. He also revels in the fact that he can say now what he likes with absolute freedom and impunity since he will not be around to suffer the consequences.
The status of Jean Cocteau s’adresse à l’an 2000 remains ultimately unclear. Is it a new testament or confession, or a heroic demonstration of the need for human endurance, or a pure ‘farce of anti-gravitation’ as he puts it? Or everything at once? It is entirely characteristic of Cocteau to leave us hanging on this suspended paradox. What is certain, however, and what we have consistently seen, is that Cocteau’s life and body are his work, and his work in turn is always mysteriously alive. This is Cocteau’s final gift to his fellow human beings. Let us retain and celebrate the force of that gesture. He is resurrected before our eyes, ever-present, defiant and joyfully queer.
Jean Cocteau is dead, long live Cocteau!
(James S. Williams)

故事发生于16世纪中叶的法国凡尔赛宫，克莱夫王妃（玛丽那·维拉迪 Marina Vlady 饰）拥有惊为天人的外貌，令克莱夫亲王（让·马莱 Jean Marais 饰）神魂颠倒，最终，亲王终于娶了王妃为妻，然而，王妃对于亲王只有敬重并无爱情，两人整日里相敬如宾，这让亲王感到非常的痛苦。
一天，在一场盛大的舞会上，克莱夫王妃邂逅了名为内缪尔（Jean-François Poron 饰）的英俊公爵，在内缪尔的身上，王妃第一次体会到了爱情的甘甜。当亲王意识到了王妃的不忠之后，他怒火攻心竟然一命呜呼，这让善良的王妃十分的内疚。虽然之后内缪尔向王妃求婚，但是为了赎罪，王妃忍痛拒绝。

A retelling of Tristan and Isolde set in 1940s France.

原本是 ABC Stage 67（美国ABC电视台1967年推出的持续了26周的一个系列，包括不同的戏剧电影、纪录片、音乐剧等）。原剧本是让·谷克多（Jean Cocteau，法国作家、导演）1930年写的，讲了一个巴黎女子接了一通5年的情人的电话，说他明前就要和另一个女子结婚了。这通电话崩溃了她的神经。1940年代第一次搬上银幕。这个电视电影的导演是加拿大人 Ted Kotcheff，并请到了斯嘉丽·褒曼主演.（以上根据原文资料资料编译）

故事发生在十九世纪的法国，皇后娜塔莎（艾薇琪·弗伊勒 Edwige Feuillère 饰）虽然拥有着美艳的外表，却终日佩戴着黑色面纱，永远生活在郁郁寡欢之中。她的丈夫在十年前遇刺身亡，这场悲剧如同乌云一般，即使在十年后的今天依然萦绕在娜塔莎的周围久久无法散去。
在一场舞会中，娜塔莎邂逅了诗人斯丹尼斯拉斯（让·马莱 Jean Marais 饰），让娜塔莎内心悸动的，是斯丹尼斯拉斯和亡夫分外相似的样貌。实际上，斯丹尼斯拉斯是一名无政府主义者，参加舞会的目的只有一个，那就是刺杀皇后，但娜塔莎并没有感到害怕，反而收留了这个男人，渐渐地，本该水火不容的两人之间产生了微妙的感情。

国王被刺杀身亡之后，王后（莫尼卡·维蒂 Monica Vitti 饰）就一直生活在悲痛之中，一晃眼就是十年过去。这十年里，阴谋家门从来就没有放弃过对于王位的觊觎之心，一直想方设法将王后从王座上赶下来，这样你攻我守的日子令王后感到非常的疲惫。
一天，一个陌生男人闯进了王宫，让王后震惊的是，他竟然有着和国王十分相似的外表，原来，这名男子叫塞巴斯蒂安（佛朗哥·班塞罗里 Franco Branciaroli 饰），他受人蛊惑，企图前来刺杀王后。塞巴斯蒂安并不知道，死亡对于王后来说无异于是一种褒奖，王后超脱的态度令塞巴斯蒂安对其一见钟情，打消了杀死王后的念头。

让·考克多1948年作品。这部心理悲喜剧是一部室内剧，只有两个场景，没有外景，镜头非常静态，用大量特写来反映人物的内心世界以及家庭中各种复杂关系的微妙之处影片描写儿子的恋母情结以及父子之间的相互嫉妒。很多人推举此片为考克多最优秀的作品。。最值得称道的是空间封闭压抑感的营造以及女主角炉火纯青的表演。1953年英国重拍成《亲密关系》（Intimate Relations）。

　　影片改编自1929年发表的让·考克多的自传体小说，讲述一对姐弟的非正常生活。他们之间进行着外人看起来过分的游戏，但对于他们来说又是必要的。在新人走进他们的生活之后，嫉妒和欺骗产生了。

本片取自狄德罗小说中的一个片断，讲一个上流社会女子被情人抛弃后，想出一招：她鼓励对方跟一名有卖淫背景的女子结合，先实行广泛的保密工作，事成后再把这则天塌地裂的消息公诸于众。

本片是一部两段式的电影，由安娜·麦兰妮演出两位导演所拍的短片。第一段是由帕利拉诺执导的《人声》（The Human Voice），描写一名女子透过电话跟一个已不爱她的男人之间纠缠不清的感情故事。整部影片几乎都是在女子的卧室演独脚戏。第二段是罗西里尼执导的《奇迹》（The Miracle），描述一名头脑简单的村姑，在山边被路过的陌生人诱奸，她以为这个男人是使徒圣约瑟。（饰演这名大色狼的人日后竟然成了国宝级的大导演，他就是费里尼）。不久，村姑发现自己怀孕了，村民都耻笑她，但她却坚信这是神迹，她肚子里怀的婴孩就是耶稣。最后她爬上山顶的草棚把孩子生了下来，微笑着给婴儿吸吮她的乳房。