Filled with a colorful cast of supporting characters and a number of gracefully executed dance sequences, THE FAIRY is a whimsical tale about the happiness that can be squeezed out of even the most mundane of lives.

Dom works as a night clerk at a small hotel in the industrial port city of Le Havre. One night, a strangely dressed woman named Fiona arrives and claims she is a fairy. She grants Dom three wishes, and makes his first two wishes come true before mysteriously vanishing. By now, Dom has fallen in love with Fiona, and he proceeds to embark on a search for his elusive fairy. The third feature film by the gifted trio of physical comedians Dominique Abel, Fiona Gordon, and Bruno Romy, THE FAIRY presents a series of slapstick set pieces which hark back to the work of Charlie Chaplin, Buster Keaton, and Jacques Tati.

Filled with a colorful cast of supporting characters and a number of gracefully executed dance sequences, THE FAIRY is a whimsical tale about the happiness that can be squeezed out of even the most mundane of lives.

The bourgeois and extremely eccentric Van Peteghem family—among them Juliette Binoche, Fabrice Luchini, and Valeria Bruni Tedeschi—have settled in for another summer at their cliff-top villa overlooking the picturesque SLACK BAY. Their leisurely rhythm of sunbathing and seaside constitutionals is soon interrupted by the arrival of two bumbling inspectors investigating a string of tourists gone missing (and serving full-on Keystone Kops). As the macabre mysteries mount and love blossoms between the family’s genderqueer teen and the son of a local fisherman, Binoche and company ratchet the slapstick up to eleven. It’s no wonder director Bruno Dumont (Li’l Quinquin, Camille Claudel 1915) cites Peter Sellers, Monty Python, and Laurel and Hardy as cinematic influences for his delightful foray into winking, absurdist farce.

Nine years after she left him for his best friend, journalist Abel (Louis Garrel) gets back together with his recently widowed old flame Marianne (Laetitia Casta). It seems to be a beautiful new beginning, but soon the hapless Abel finds himself embroiled in all sorts of drama: the come-ons of a wily jeune femme (Lily-Rose Depp), the machinations of Marianne’s morbid young son (Joseph Engel), and some unsavory questions about what exactly happened to his girlfriend’s first husband. Shifting points of view as nimbly as its players switch partners, the sophomore feature from actor/director Louis Garrel—co-written with the legendary Jean-Claude Carrière—is at once a beguiling bedroom farce and a playful inversion of the patriarchal tropes of the French New Wave.

“PASSIONATE, ENGAGING AND EMOTIONAL... A fine return to form for the veteran German helmer... An elegant orchestrated pas de deux between formidable opponents.”
—Scott Foundas, VARIETY

THE BEST FOREIGN FILM OF 2014
—AARP MAGAZINE MOVIES FOR GROWNUPS AWARDS

As the Allies march toward Paris in the summer of 1944, Hitler gives orders that the French capital should not fall into enemy hands, or if it does, then ‘only as a field of rubble’. The person assigned to carry out this barbaric act is Wehrmacht commander of Greater Paris, General Dietrich von Choltitz, who already has mines planted on the Eiffel Tower, in the Louvre and Notre Dame and on the bridges over the Seine. Nothing should be left as a reminder of the city’s former glory. However, at dawn on 25 August, Swedish Consul General Raoul Nordling steals into German headquarters through a secret underground tunnel and there starts a tension-filled game of cat and mouse as Nordling tries to persuade Choltitz to abandon his plan.

In this riveting adaptation of the stage success by Cyril Gély, the great Volker Schlöndorff (Academy Award winner THE TIN DRUM) has created a psychologically elaborate game of political manners between two highly contrasting characters. While Choltitz entrenches himself behind his duty to obey unquestioningly all military orders, Nordling tries everything he can to appeal to reason and humanity and prevent the senseless destruction of the beloved 'City of Light'.

In a town on the French Riviera, detective Yvonne (Adèle Haenel) is the widow of police chief Santi, a local hero idolized by their young son. When she realizes her husband was not the model of virtue she believed him to be and that an innocent man, Antoine, has spent eight years in prison as Santi’s scapegoat, her world is thrown into turmoil. Yvonne wants to do everything she can to help the young man get back to his life and his wife (Audrey Tautou). Everything, that is, except exposing the truth. But Antoine is having trouble adjusting to life after prison and soon blows a fuse, leading to a spectacular sequence of events.