Éducation Sentimentale Sentimental Education (1962) Alexandre Astruc, Jean Claude Brialy, Marie José Nat, Dawn Addams, Drama, Romance, Comedy

Frédéric, a shy small-town man, falls in love with Anne, a middle class woman married to Didier, who cheats on her with top model Barbara. Catherine, a very determined woman, is secretly in love with Frédéric and in order to keep him away from Anne, pushes him into Barbara's arms. After a while, she gives herself to him.

The film consists of seven roughly 15 minute episodes, each showing what will happen if one or more of the Ten Commandments will be broken. The episodes are either mini-dramas.

With A Woman is a Woman (Une Femme est une femme), compulsively innovative director Jean-Luc Godard presents “a neorealist musical—that is, a contradiction in terms.” Featuring French superstars Anna Karina, Jean-Paul Belmondo, and Jean-Claude Brialy at their peak of popularity, A Woman is a Woman is a sly, playful tribute to—and interrogation of—the American musical comedy, showcasing Godard’s signature wit and intellectual acumen. The film tells the story of exotic dancer Angéla (Karina) as she attempts to have a child with her unwilling lover Émile (Brialy). In the process, she finds herself torn between him and his best friend Alfred (Belmondo). A dizzying compendium of color, humor, and the music of renowned composer Michel Legrand, A Woman is a Woman finds the young Godard at his warmest and most accessible, reveling in and scrutinizing the mechanics of his great obsession: the cinema.

La jeune Agathe, fille de douaniers belges, a gagné aux épreuves d'un concours de sténographie un séjour de quinze jours sur la Côte d'Azur. Décidée, nantie pour tout bagage de son solide aplomb, elle part, pratiquant l'auto-stop. L'arrivée à Paris est mouvementée. Des boxeurs de bonne volonté l'ont convoyée jusqu'au Palais des Sports ; ils la laissent repartir avec un quadragénaire empressé qui lui offre un dîner fin chez Maxim's. Pour échapper aux conséquences de ce dîner, Agathe s'invente une tante, qui habite soit-disant avenue Victor-Hugo ; elle en sera quitte pour passer la nuit sur la banquette du palier d'un sixième étage. Au petit matin, elle partira jusqu'à Orly avec l'un des locataires, un pilote de ligne, qui doit s'envoler pour Nice ; mais elle n'ose pas accepter le prix du billet. Un vieux beau, devant qui elle accumule les mensonges, l'abandonne et Agathe n'a plus que la ressource de faire, à nouveau, de l'auto-stop…

A group of people visit a weird old man who is a student of the black arts. The man lives in an ancient, cursed castle. Soon people in the group start being killed off.

André Laroche, an industrialist, has just passed away. Face to his grave, as he is being buried, Anne de Vierne, the wife of a magistrate, confesses to her son François that Laroche was in fact Lupin and that he is his natural child. But he is not the gentleman thief's only offspring! Lupin had indeed another son by a housemaid, Gérard Dagmar, a dancer, magician and - occasionally - burglar. Which complicates the task of François who, to respect the last wishes of the testator, has gone in search of the treasure of Poldavia. For he keeps finding Gérard on his way and his efforts are constantly thwarted by his half-brother.

With A Woman Is a Woman (Une femme est une femme), compulsively innovative director Jean-Luc Godard presents “a neorealist musical—that is, a contradiction in terms.” Featuring French superstars Anna Karina, Jean-Paul Belmondo, and Jean-Claude Brialy at their peak of popularity, A Woman Is a Woman is a sly, playful tribute to—and interrogation of—the American musical comedy, showcasing Godard’s signature wit and intellectual acumen. The film tells the story of exotic dancer Angéla (Karina) as she attempts to have a child with her unwilling lover Émile (Brialy). In the process, she finds herself torn between him and his best friend Alfred (Belmondo). A dizzying compendium of color, humor, and the music of renowned composer Michel Legrand, A Woman Is a Woman finds the young Godard at his warmest and most accessible, reveling in and scrutinizing the mechanics of his great obsession: the cinema.

In Les cousins, Claude Chabrol crafts a sly moral fable about a provincial boy who comes to live with his sophisticated bohemian cousin in Paris. Through these seeming opposites, Chabrol conjures a darkly comic character study that questions notions of good and evil, love and jealousy, and success in the modern world. A mirror image of Le beau Serge, Chabrol’s debut, Les cousins recasts that film’s stars, Jean-Claude Brialy and Gérard Blain, in startlingly reversed roles. This dagger-sharp drama won the Golden Bear at the Berlin Film Festival and was an important early entry in the French New Wave.