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Send a Woman When the Devil Fails (French: Quand la femme s'en mêle) [2] is a 1957 French-Italian-West German crime film. It is an adaptation of Jean Amila's novel Sans attendre Godot. Directed by Yves Allégret, it was Alain Delon's and also Bruno Cremer's film debut. [3] It was shot at the Billancourt Studios in Paris
Au rendez-vous de la mort joyeuse is a 1973 French-Italian horror film directed by Juan Luis Buñuel (the son of Luis Buñuel). It is also known as At the Meeting with Joyous Death (International English title) and Expulsion of the Devil (USA) and Lune lune coquelune. [2]
Two Men in Town (French: Deux hommes dans la ville a.k.a. Two Against the Law ) is a 1973 Franco-Italian film directed by José Giovanni . The film was remade in 2014 .
The Lady in the Car with Glasses and a Gun (French: La Dame dans l'auto avec des lunettes et un fusil) is a 2015 French-Belgian mystery thriller film directed by Joann Sfar and starring Freya Mavor, Benjamin Biolay, Elio Germano, and Stacy Martin.
La Grande Bouffe (Italian: La grande abbuffata, English titles The Grand Bouffe and Blow-Out) is a 1973 French–Italian satirical film directed by Marco Ferreri. [1] [2] It stars Marcello Mastroianni, Ugo Tognazzi, Michel Piccoli, Philippe Noiret and Andréa Ferréol. The film centres on a group of friends who plan to eat themselves to death.
The New York Times called it "an elegantly comprehensive and persuasive movie version of a Georges Simenon novel" and "concise, introspective drama," and added that "the fascination of the impeccable acting of a first-rate cast, headed by Jean Desailly, is the exquisitely restrained flow and fusion of the incidents, as the protagonist finds his soul stripped bare."
Henri Godin, « Le Cadran solaire de La Grande Bretèche », L’Année balzacienne, Paris, Garnier Frères, 1967, p. 346-9. (in English) Peter Lock, « Text Crypt », MLN, May 1982, n° 97 (4), p. 872-89. Chantal Massol-Bedoin, « Transfert d’écriture : le réemploi de La Grande Bretèche dans Autre étude de femme », Balzac, Œuvres ...
Olivier Delcroix [] of Le Figaro wrote that Gederlini "signs an implacable thriller with the excellent Antonio de la Torre". [6]Raquel Hernández Luján of HobbyConsolas scored 75 out of 100 points ("good"), highlighting the performances, the cinematography, the soundtrack and the handling of the narrative tension as the best things about the film, whereas citing that the film "leaves a lot ...