A thirty-three-minute documentary featuring interviews with director Pier Paolo Pasolini, actor-filmmaker Jean-Claude Biette, and Pasolini friend Ninetto Davoli.

Pierre Léon ingeniously condenses and updates Dostoevsky’s novel about a 19-year-old intellectual reconnecting with his estranged family in his impressive debut feature.

A young man returns to the family home to face a childhood trauma: his brother's suicide, but nobody in the family is willing to help him.

Elegantly and carefully, Léon trains his sights both on Chekhov’s famous play written in 1896 and on its earlier, lesser known version entitled "The Wood Demon" (1889), combining the two.

Felicie and Charles have a whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in a cold Paris with a daughter as a reminder of that long-ago summer. For male companionship she oscillates between hairdresser Maxence and the intellectual Loic, but seems unable to commit to either as the memory of Charles and what might have been hangs over everything.

The full soundtrack to Marguerite Duras' 1975 film India Song, about a French ambassador's wife in 1930s India, is here repurposed with all new cinematography. As we hear all the dialogue of a bygone movie, we travel visually through images of absence and decay, bereft of life. It's the ghost of a film, and a further commentary on colonialism.

In 1937 Calcutta, the wife of the French ambassador takes on many lovers.

Karl, a young killer is to kill Kate, an adventurous lady living in a mansion by a lake. He approaches her but fails to kill her. Instead, he falls in love and becomes her lover ...

A mysteriously linked pair of young women find their daily lives pre-empted by a strange boudoir melodrama that plays itself out in a hallucinatory parallel reality. An undisputed classic of the French New Wave, Jacques Rivette’s Celine and Julie Go Boating is a delightful movie about the spiritual journey of a pair of young women, told with a playful approach to the cinematic form. A masterpiece of cinematic creativity, Rivette, the same mind behind 1969’s L’amour fou, effortlessly draws the viewer into the whimsical world of the titular protagonists.

Aimless young Alexandre juggles his relationships with his girlfriend, Marie, and a casual lover named Veronika. Marie becomes increasingly jealous of Alexandre's fling with Veronika and as the trio continues their unsustainable affair, the emotional stakes get higher, leading to conflict and unhappiness.

A young woman escapes her father's house and goes to live in the city. There, she realises her father may still be controlling her life through the people she meets.

Straub-Huillet’s first color film, adapts a lesser-known Corneille tragedy from 1664, which in turn was based on an episode of imperial court intrigue chronicled in Tacitus’s Histories. The costuming is classical, and the toga-clad, nonprofessional cast performs the drama’s original French text amid the ruins of Rome’s Palatine Hill while the noise of contemporary urban life hums in the background. Their lines are executed with a terrific flatness and frequently through heavy accents; the language in Othon becomes not merely an expression but a thing itself, an element whose plainness here alerts us to qualities of the work that might otherwise be subordinated.

In the second of Rohmer's moral tales, he examines the relationship between two friends and a girl who at first appears easily exploited. It is a complex tale of feelings and misconceptions, acted out within the head of the main character, as part of Rohmer's attempt to more easily simulate the mindscape quality of literature within a film.