At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
At the end of the nineteenth century, Italian anarchists, ten men, one woman, libertarian, collectivist emigrate to Brazil to start a leaderless community, without hierarchy, without a boss without police, but not without conflict nor passion.
In an early 19th century African village, Wend Kuuni – a young man, lives with his adopted family after his mother was killed as a witch. When Pughneere – his adopted sister – becomes ill, the villagers suspect Wend Kuuni. In order to save Pughneere's life (and his own) he must set out on a journey to find a healer. His quest brings him in contact with people around him and is a journey of self-discovery.
The American musician Rickie falls in love with the prostitute Sara, who pretends to be a princess. As they escape together, Rickie gets into a dangerous adventure.
The American musician Rickie falls in love with the prostitute Sara, who pretends to be a princess. As they escape together, Rickie gets into a dangerous adventure.
It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.
It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.
It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.
It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.
It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.
A couple takes on a homeless teenager. The trio forms a family-like community that seems to work extremely informally and without many regulations. But then the harmonic situation escalates as the boy falls in love with his "adoptive mother".
A couple takes on a homeless teenager. The trio forms a family-like community that seems to work extremely informally and without many regulations. But then the harmonic situation escalates as the boy falls in love with his "adoptive mother".
A couple takes on a homeless teenager. The trio forms a family-like community that seems to work extremely informally and without many regulations. But then the harmonic situation escalates as the boy falls in love with his "adoptive mother".
A couple takes on a homeless teenager. The trio forms a family-like community that seems to work extremely informally and without many regulations. But then the harmonic situation escalates as the boy falls in love with his "adoptive mother".
A couple takes on a homeless teenager. The trio forms a family-like community that seems to work extremely informally and without many regulations. But then the harmonic situation escalates as the boy falls in love with his "adoptive mother".
A couple takes on a homeless teenager. The trio forms a family-like community that seems to work extremely informally and without many regulations. But then the harmonic situation escalates as the boy falls in love with his "adoptive mother".
A couple takes on a homeless teenager. The trio forms a family-like community that seems to work extremely informally and without many regulations. But then the harmonic situation escalates as the boy falls in love with his "adoptive mother".
In 1977, Kh'lil Khalsawi, a law professor in Tunisia, under the ruling party's instructions, is asked to represent them in a league of human rights that has been founded not long ago.
In 1977, Kh'lil Khalsawi, a law professor in Tunisia, under the ruling party's instructions, is asked to represent them in a league of human rights that has been founded not long ago.
In 1977, Kh'lil Khalsawi, a law professor in Tunisia, under the ruling party's instructions, is asked to represent them in a league of human rights that has been founded not long ago.
In 1977, Kh'lil Khalsawi, a law professor in Tunisia, under the ruling party's instructions, is asked to represent them in a league of human rights that has been founded not long ago.
One day, Pedro Sansinenea left family, friends and country, an environment that drowned him. Twenty years later he returns to the Basque Country for several reasons, where he finds old hatreds, new conflicts and even a dramatic love story.
In Paris, unhappy movie actress Catherine Crachat becomes infatuated with the mathematician Pierre Indemini, but then breaks up with him. After a film shoot in Vienna, Catherine stays with a rich admirer, Fanny Hohenstein. Fanny has a history of many lovers of both sexes, two of whom killed themselves over her.
On the basis of the hardy perennial "boss-assistant" relation, "The Mortal Fortune" depicts the passion of worldly existence.
The anonymous hero of the story, to which the spectator is introduced, attempts at freeing himself from his enslaved life. He finally has to realize the transience of the creature man and whithdraws from the constraints of worldly existence.
On the basis of the hardy perennial "boss-assistant" relation, "The Mortal Fortune" depicts the passion of worldly existence.
The anonymous hero of the story, to which the spectator is introduced, attempts at freeing himself from his enslaved life. He finally has to realize the transience of the creature man and whithdraws from the constraints of worldly existence.
On a deserted island, an old caretaker with a waning memory wanders among the ruins of a former children’s prison, which was destroyed by a mutiny and a fire a long time ago.
Le Grand Échiquier mêle tous les arts et toutes les générations d'artistes et propose des rencontres artistiques exceptionnelles, inédites et insoupçonnables entre chanteurs, musiciens, chorégraphes, danseurs, humoristes ou encore chefs d'orchestre.
Champs-Élysées est une émission de variétés de la télévision française présentée par Michel Drucker puis par Laurent Ruquier et diffusée en direct à partir du 16 janvier 1982 à juin 1985 et de janvier 1986 jusqu'au 29 juin 1990 tous les samedis soir sur Antenne 2 et de façon irrégulière sur France 2 du 13 novembre 2010 au 11 mai 2013. L'émission doit son nom au fait qu'elle est réalisée en direct du Pavillon Gabriel, situé avenue Gabriel, le long de l'avenue des Champs-Élysées à Paris. L'indicatif musical du générique de l'émission a été composée par Jean-Pierre Bourtayre et Jean-Claude Petit. La chorégraphie du générique a été composée par Redha.