Major actress of the New Wave, Anna Karina is bound to the great renewal of cinema in the 1960s. Her companion in life, Dennis Berry revisits the story of her memories with Jean-Luc Godard and the great directors she knew, her memorable meeting with Serge Gainsbourg, and also, more recently, her career as a singer. With a gaze halfway between mischief and severity, the New Wave's Danish muse embodied a new feminity – deeply linked with women's liberation.

French documentary about the life of American actress and New Wave icon Jean Seberg.

The means used by foreign spy services to obtain the trade secret of a French invention.

A single mother raises her son in impossible circumstances first in Leningrad, then Krakow, and then France, and is over-ambitious about him but never gives in.

In 1930 Marseilles two small-time crooks join forces when they meet brawling over a woman. Starting with fixed horse races and fights, they start to find themselves doing jobs for the local gangster bosses. When they decide to go into the business for themselves, their easy-going approach to crime starts to change.

In this film, an artist attending a party smokes some dope and develops the ability to see into the future and the past. He returns to his apartment where he sees the vision of a woman who had lived there 30 years ago. His psychedelic hallucinations increase with time. Starring Richard Leduc and Danièle Gaubert with Serge Gainsbourg who also did the score.

Paulina leaves the apartment where she lives with her two brothers, Nicolas and Olivier. Her departure is mark by chaotic and sometimes brutal confrontations. Thrust into a world of madness and violence (or is it gaslighting?), Paulina is shuttled from a psychiatric institution to a brothel, while her brothers become resistance fighters in some enigmatic version of France.

A troubled marriage is tested by the couple's involvement in a theatrical production of Racine’s Andromaque.

A gang of young tugs led by Frankie, opens a nightclub just in front of a gangster's hideout. Morelli is his name and he prepares the stealing of the century.

A young student visits the home of a friend who has all the good looks, women and luck. Every day, through binoculars from his friend's window, he sees a young girl in front of her home. Although attractive, the woman's face has been badly scarred. He finds out her phone number and the two engage in pleasant conversation. He gets up enough nerve to ask to meet her in person, but the socially inept young man becomes paralyzed with fear. He again summons the courage to meet with her before he is plagued with fear once again.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men.

Singapore. Following the mysterious disappearance of several Marines on leave, the U.S. Secret Service appoints young Art Smith to lead the investigation. Four volunteers decide to assist him in his dangerous undertaking, and prepare to act as bait for the kidnappers.