The Marquis Rodolphe de Sombrueil accidentally runs over a working man with his carriage and helps his widow -- unjustly accused of robbery -- to find her missing daughter.

Charles le Temeraire asks in marriage Jeanne de Beauvais, daughter of King Louis XI, wishing to get her valuable lands in dowry. The King is wise to this, and since his daughter does not feel inclined to accept, he refuses. Charles sets up a plan to abduct the prince, in a way that the suspicions will fall upon Robert de Neuville, a noble enamoured of the princess. Robert manages to free her from the castle where she was being kept. Charles keeps setting traps, and managing people to perjure against Jeanne, and the King himself. Finally, Jeanne escapes alive from a pack of wolves, who set watching the lady alone in the snow covered woods, instead of attacking her. Charles does yet accuse her of being a witch - wishing to have her dead rather than being the wife of Robert... Robert will be her champion in a Judgement of God. Will the 'miracle of the wolfs' repeat itself, or fearless Charles defeat Robert in the sword duel?

Le capitan is a 1960 French-Italian swashbuckler film directed by André Hunebelle and starring Jean Marais, Bourvil, Elsa Martinelli and Lise Delamare. It is based on a novel by Michel Zévaco.

A green mare makes the fortune of her owner, the horse dealer Haudouin. Shortly after his death, war broke out in 1870. One day, his neighbor Zèphe Maloret denounces Honoré, Haudouin's son, a maverick, to the Prussians. Following this denunciation, their non-commissioned officer enters the Haudouin home and rapes the mother while Honoré is hidden under the bed. The resentment already existing between the Haudouin and Maloret families turns to hatred... A letter recalling the events is lost, which doesn't help matters.

Sentimental marivaudage between Nicole, her husband Christian, her friend Alexandre and a provincial girl, Marie-Josèphe, who marries Alexandre after arousing Nicole's jealousy.

Véronique Lanier runs one of the most highly rated haute couture houses in Paris. Her first partner is her husband Pierre, who has left aside a promising artist career to design the styles which make their firm a success. The trouble is that Véronique lives only for her job and does not allow herself -and her husband for that matter - a moment's respite. In Cannes, Pierre meets Wanda, a young singer with strange, fascinating eyes. The frustrated husband falls for her but gradually realizes that the light mercurial creature cannot possibly fulfill him. Véronique, feeling miserable, understands she is on the wrong track. She promises Pierre that she will make efforts to reconcile work and married life. Véronique and Pierre will live and work together again, each one forgiving the other for their faults.

Léo Fardier is a police inspector who goes to prison undercover as a convict. He shares a cell with Mariani, a Corsican mafioso, whose trust he earns. The day Léo leaves prison, the criminal entrusts him with a letter to deliver to his estranged wife. He finds her, and she falls under his spell. The problem is that he, too, has fallen in love with her.

Bertal, a despotic and hated theater director, is assassinated before a performance of Macbeth in which he was to play with Aurélia Nobli, his companion and Ludovic Arn, her lover. The police arrive on the scene and the investigation begins. Suspicion first falls on Sigurd, an old actor who had threatened Bertal. But parallels appear between the characters in the play and the actors who play them.

Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.

Elsa Lundenstein is accused of having murdered her lover. The jury discusses the case vividly. All members are somehow prejudiced because of personal life experience and subsequently each member reads something different into the presented facts.

Based on a venerable Legend of the Sea, the story concerns a pliable prostitute named Bella (Romance) who is all things to all men. No matter what sort of woman her client wants, she will become that woman -- at least for the night. When a middle-aged man named Jean insists that Bella is his long-lost sweetheart, she plays along, hoping to escape her sordid lifestyle. The emotional tragedy that follows is meant to explain how Bella became "Maya," the living embodiment of Lost Souls.

During the Second World War, Georges Masse undergoes a dangerous mission by taking secret documents from Tangiers to London.