La Femme de L'aviateur

A scheming servant works for a wealthy couple in France during the late 19th century.

Convicted felon Nikita (Anne Parillaud), instead of going to jail, is given a new identity and trained to be a secret police assassin controlled by the government. Her lonely life is warmed when she falls in love with a man who knows nothing of her mysterious life.

Armand e Leila sono innamorati, vivono a Parigi e insieme hanno in programma di andare a New York per uno stage. Pochi giorni prima della partenza, però, da un lungo viaggio in Yemen torna Mahmoud, il fratello di Leila, profondamente cambiato. Volendo riformulare la vita della sorella che ritiene indecente, Mahmoud decide di imporle delle limitazioni e di allontanarla dal fidanzato. Armand non accetta la sua decisione e, con l'aiuto degli amici, non ha altra scelta che introdursi in casa dell'amata indossando un niqab e presentandosi come Shéhérazade.

The film begins with a wagon crashing into a ravine. Prospector Ben Rumson finds that of the two adult male occupants, one is dead and his brother injured with a broken arm and leg. As the man is about to be buried, gold dust is discovered at the graveside. Ben stakes a claim on the land and the surviving brother is adopted as his "Pardner" while he recuperates…

Director Cyrus Nowrasteh teams with screenwriter Betsy Giffen Nowrasteh to illuminate the dangers of religious fundamentalism, gender apartheid, and mob rule with this fictionalized adaptation of Freidoune Sahebjam's best-selling novel centering on a true-life tragedy. The story takes place in 1986, just as Khomeini is coming into power in Iran. Undercover French journalist Freidoune Sahebjam (Jim Caviezel) is traveling though a small southwestern village when his car breaks down. Surrounded by strife but left with little choice other to wait until his car is repaired, the anxious Freidoune is soon approached by persistent local Zahra (Shohreh Aghdashloo), who convinces him to follow her into the courtyard behind her home…

Upon returning from a hunting expedition, King Louis XIV feels a sharp pain in his leg. He begins to die, surrounded by loyal followers in the royal chambers.

Ousmane Sembène was one of the greatest and most groundbreaking filmmakers who ever lived, as well as the most renowned African director of the twentieth century—and yet his name still deserves to be better known in the rest of the world. He made his feature debut in 1966 with the brilliant and stirring Black Girl. Sembène, who was also an acclaimed novelist in his native Senegal, transforms a deceptively simple plot—about a young Senegalese woman who moves to France to work for a wealthy white family and finds that life in their small apartment becomes a prison, both figuratively and literally—into a complexly layered critique of the lingering colonialist mind-set of a supposedly postcolonial world. Featuring a moving central performance by M’Bissine Thérèse Diop, Black Girl is a harrowing human drama as well as a radical political statement—and one of the essential films of the 1960s.