1789年法国大革命前夕，烹饪为贵族专有。事实上，贵族的声望完全取决于餐桌上的丰盛及美味程度。所以，当才华横溢但骄傲自大的厨师芒塞龙在尚福尔公爵的晚宴上，自说自话地端上了他自创的菜肴时，他立刻就被开除了。受挫的芒塞龙带着自己儿子去了一家偏僻的旅馆，这家旅馆平时只会有旅客到访，而且通常餐食只售卖蔬菜汤。然而当一位神秘的女人某天来到这里，并表示愿意支付报酬成为芒塞龙的学徒，一个充满欢悦、重新点燃的激情、烹饪教学和复仇的故事就此展开。

　　A Parisian museum director believes his wife has lost interest in him and so places a poisoned cigarette in the box on his desk - thus allowing chance to decide the moment of his death.

　　即将失去抚养权的父亲，逼不得已成为模范父亲，用“坏”的方式教育女儿，笨拙又无条件。从不正常的家庭应对现代生活的反映，上升到了社会议题。有别于传统的法国喜剧。。。。

　　弗朗哥统治时期的西班牙马德里，女童安娜（Ana Torrent 饰）与两个姐妹在军官父亲安赛莫死后被过继给姨妈抚养，安塞莫在世时风流成性，母亲玛莉亚（Geraldine Chaplin 饰）为他放弃事业最后落得在寂寞压抑的生活中痛苦不堪，早早去世。关于母亲的记忆不时浮现在安娜脑海，这些记忆混同她对死亡的臆想慢慢影响了现实生活。姐妹三人在姨妈的看顾下并不安分，姨妈正陷入一场同安赛莫已婚战友的恋情，安娜的举止让她愈发感到威胁。安娜试图用一瓶所谓毒药帮助生活不能自理的祖母自杀，而那瓶物事不过只是苏打，祖母拒绝服毒，安娜又将目标对向了姨妈……
　　本片获1976年戛纳电影节评审团大奖等多项褒奖。

　　罗西奥（纳塔利娅·莫利纳）是一个生活处于困难局面的年轻妈妈。没有工作或社会保障，这使得抚养孩子成为了她的负担，然而现在她却需要被迫搬离住所。她所做的每件事都证明了她的无能为力。

　　维克多（Paul Blain 饰）和妻子安妮特（Marie-Christine Friedrich 饰）结婚多年，两人共同养育着女儿帕梅拉（Victoire Rousseau 饰），一家人住在风景如诗如画的维也纳，日子平静之中充满了幸福。然而，让安妮特没有想到的是，维克多竟然沾染上了毒品，整日和毒贩们厮混在一起。
　　回到巴黎后，维克多不仅没有改邪归正，反而变本加厉，一个幸福美满的家庭眼看着就要毁于一旦。在发现维克多不可能改变后，安妮特果断的带着帕梅拉离开了家，两人相依为命，隐姓埋名的生活着，一晃眼就是十一年过去。彼时的帕梅拉已经成长为了亭亭玉立的大女孩，童年时代不幸的经历让她对父亲充满了愤怒和怨怼。当帕梅拉得知自己的父亲依然活着，并且就和自己生活在同一个城市后，她决定去见一见他。

Alfonso, brutal agent of the Department of Protection of High Personalities, is forced to team up with young inexperienced recruit Walter, fascinated by the world of show biz. This improbable duo is in charge of the protection of Jal-Y, a young R'n'B star threatened by his ex, a criminal on the run.

　　Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence.  Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles.  Magdalena lives with her adopted parents and works in an art gallery.  The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.
　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch.  Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date.  The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride.  The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled.  Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert.  The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

Grasse located in the South of France is, without a doubt, the center of the art of perfume making. Fragonard and Molinard are headquartered here, as well as providers of raw material for the international perfume industry. 　　Even though doing business with the breathtaking flowers of Provence has become difficult, there are still families that make a living cultivating flowers. ...

　　1984年七月， Varda 在 Avignon 的一棟養老院裡看到一個名為《活生生與人造的》（Le vivant et l'artificiel）的展覽。展覽場裡，藝術品與動物、人工心臟、發霉的牆壁混亂地共存著。視覺上的震憾讓她久久不能自己，於是她決定帶領我們，重回險地。我們看到一間間住宅，或空的、或滿的。隨著時間流逝，卻留下奇怪的痕跡。另外， Varda 也在這家養老院裡遇到了即將是《無法無家》裡的「女僕」 Yolande Moreau 和「老太太」 Marthe Jarnias 。
　　Varda 曰：
　　『在高速火車的搖晃下，我無法讓自己不去想–那些我的精神正試著去吸納的不協調的影像。一到巴黎，我立刻打電話給 Louis Bec 和 Bernard Faivre d'Arcier ，要求他們讓我去拍這個展覽，不是為了去理解它，而是為了從中汲取靈感。他們答應了。幾天之後，我們出發前往拍片。在回到 Avignon 的高速火車的搖晃下， Nurith Aviv 要求看我的大筆記，好知道他將要拍的是甚麼。筆記紙幾乎還是空白的，我們只看到一些標題：廚房、父母的房間、用餐、窗戶。所有的家庭生活都註記到了，但沒有一樣是準備好了的。整部影片完全是以即興的方式去拍的，沒有標記、沒有脈絡。我只不過是跟隨著因參觀現場而感受到自己真實的心臟跳動，和那些仍然令人感到溫暖的老人的存在。』
　　A.   Varda,1993年, in Varda par Agnès, Ed. Cahiers du cinéma, 1994.

Bilbao, 1984. In a time of industrial reconversion, within a closed society and an oppressive environment, Kepa, a young working class, decides to fight for his dreams and the flight of his spirit, but the cruel reality will make him fall.

故事发生在第二次世界大战期间，彼时，邪恶的德国纳粹攻占了法国，玛格丽特（梅兰尼·蒂埃里 Mélanie Thierry 饰）是一名作家，和丈夫罗伯特（班哲明·比欧雷 Benjamin Biolay 饰）一起，两人共同加入了一个抵抗纳粹的抗战组织。 　　1944年，罗伯特遭到了警察的逮捕，从此消失在了玛格丽特的生活中，玛格丽特想尽了一切方法想要将丈夫救出来，然而都是徒劳，留给她的唯一选项就是等待。一次偶然中，玛格丽特解释了名叫拉比耶（伯努瓦·马吉梅尔 Beno?t Magimel 饰）的男子，这个男人不是别人，正是当时抓走了罗伯特的警察。他的出现重新点燃了玛格丽特的希望之火，两人开始频繁的见面。

　　西班牙的深夜，一名中年男子惊慌失措奔跑在丛林间，最终被一辆公路上飞驰的汽车撞成重伤。警方初步探查得知，此人是某停尸房警卫，他在出事前肯定见过什么恐怖景象。经过进一步调查发现，原来当晚停尸房丢了一具尸体。尸体名叫玛卡·维拉芙尔德（贝伦·鲁艾达 Belén Rueda 饰），是一位呼风唤雨的企业女强人，当天下午乘飞机从洛杉矶回来后不久即因心脏病去世。警方联系上玛卡的丈夫，此时正陪伴情人的亚历克斯（雨果·席尔瓦 Hugo Silva 饰）。他谈论妻子时的冷漠不得不让人对他们夫妻间的关系产生质疑。
　　伴随着诡异肃杀的气氛，真相渐渐浮出水面……

When a young auto salesman is forced to give up a vacation with his wife in order to drive an American car to its new owner who lives on the French Riviera, he makes the best of things. First, he gets and old friend to ride along with him. Then, the two of them are joined by another pair of men who want to ride south. The four of them have a great time, talking about women and ...