Parigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the queer community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.
A young woman from the Midwest gets more than she bargained for when she moves to New York to become a writer and ends up as the assistant to the tyrannical, larger-than-life editor-in-chief of a major fashion magazine.
Remy, a rat, possesses a palate far more refined than that of his fellow comrades. He dreams of becoming a chef, one who creates rather than scavenges.
After Regina Lampert falls for the dashing Peter Joshua on a skiing holiday in the French Alps, she discovers upon her return to Paris that her husband has been murdered.
During World War II, two French civilians and a downed British Bomber Crew set out from Paris to cross the demarcation line between Nazi-occupied Northern France and the South.
After her fiancee admits to infidelity while on a business trip in France, a woman attempts to get her lover back and marry him by traveling to Paris despite her crippling fear of flying.
On an otherwise normal day, Étienne, a happily married man and a good father, sees something that stops him dead in his tracks: a gorgeous woman in a billowing red dress.
In 1942, in an occupied Paris, the apolitical grocer Edmond Batignole lives with his wife and daughter in a small apartment in the building of his grocery.
In his film attempt, Berlin cabaret artist Wolfgang Neuss strings together various sketches to create a story that deals with the division of Germany based on motifs from the Münchhausen legend.
Five short stories.
(1) “Czas przybliża, czas oddala” – Edward recalls his unfulfilled love for Anna and, years later, writes to her sister Zofia, mistaking her for Anna.
A young boy discovers the existence of a group called the Mooncussers - a gang of pirates that work at night and sends out false homing signals to ships at sea.
When a worker digging up a rose bed in the garden of a rich, influential factory owner uncovers a skeleton, suspicion spreads: Is the man who is so respected in the town possibly a murderer?
