Camilla Dickinson

Family, friends and the people who know her best talk candidly about Britain's most private royal.

The Duchess of Cornwall pours her passions into print, becoming guest editor of Country Life magazine, in this is a funny and charming portrait of our future Queen Consort at 75.

Documentary looking at the surprising and colourful life of the potential future queen consort. This film charts Charles and Camilla's rollercoaster relationship, from the moment they met, through the Diana years, to their own marriage in Windsor in 2005.

Mark Simmons, un détective chevronné mais ronchonneur, n'arrive tout simplement pas à mettre le grappin sur un criminel farceur qui sème le chaos dans la ville et met la police dans l'embarras. Karina Murphy, une fillette de 12 ans qui rêve de devenir policière, s'immisce sans le vouloir dans l'opération de surveillance de Simmons. Alors que le détective tente par tous les moyens d'ignorer Karina, le capitaine de la police commet l'inconcevable : il fait d'eux un duo.

The surprising and colourful life of the Queen Consort. Who is the woman for whom Charles risked everything?

In una tranquilla città del Nord Italia, vive Camilla una diciassettenne come tante e come tante un po' speciale. Ha ottimi voti a scuola, un rapporto conflittuale con la sorellina Francesca e un sogno, che sua madre (donna dell'est, pragmatica e lavoratrice) non capisce, suo padre (più “materno”) invece sì. Camilla vuole diventare una ballerina di danza classica e l'audizione, che di lì a poco deve tenere per entrare in un'importante accademia, è una grande occasione. Nella sua vita però - prepotente come un vento estivo - entra Sara, anche lei aspirante ballerina. Sara ha diciotto anni appena compiuti, un padre benestante e una madre assente; è carismatica e sensuale. Tra conturbanti slanci d'affetto, crisi, decisioni dirimenti e colpi di scena, il loro rapporto prenderà strade imprevedibili, segnando per sempre la vita di Camilla.

Based on Donald E. Westlake's novel The Hunter, John Boorman's gangster film hauntingly merges a generic revenge story with a European art cinema sensibility. In Alcatraz to divvy up the spoils from a robbery, thief Walker (Lee Marvin) is instead shot point blank by his double-crossing friend and left to die while Reese takes off with Walker's wife and his $93,000. Resurrected, the stone-faced Walker returns to Los Angeles a couple of years later to seek revenge on Mal with the help of the enigmatic Yost (Keenan Wynn) and Lynne's sister Chris (Angie Dickinson). Brutal in the violence that it shows and suggests, Point Blank opened in the U.S. in the same period as Bonnie and Clyde, becoming one more testament to the genre-bending and ground-breaking possibilities of the nascent Hollywood New Wave. Although Point Blank was mostly overlooked in 1967, Boorman's visual adventurousness, and Marvin's amoral and apathetic antihero, have since made Point Blank seem one of the key films of the mid-late '60s, a precursor to revisionist experimentations from Martin Scorsese to Quentin Tarantino. It was remade as the 1999 Mel Gibson vehicle Payback.