Classic cult hippy movie from filmmaker Barbet Schroeder, set to a soundtrack by Pink Floyd. A group of travellers, searching for rare bird feathers in New Guinea, stumble upon the Mapuga tribe. This encounter with a society cut off from all other civilisation leads them on a journey of self-discovery.

Patrice Chéreau directs this live stage performance of Jon Fosse's play 'Rêve D'automne' at the Théâtre National de Bretagne in Rennes.

Angele (Nathalie Baye) has been working at a beauty parlour for years, and has become a confidante to her clients. Outside of her job, however, she avoids close relationships, preferring the thrill of one-night stands. When long-time admirer Antoine (Samuel Le Bihan) reveals his love for her, she begins to succumb, but matters are complicated when one of her customers pours her heart out about her boyfriend - who happens to be Angele's new lover!

A collection of films by Spanish auteur Luis Buñuel. In 'The Diary of a Chambermaid' (1964), Jeanne Moreau stars as Celestine, a beautiful and sharp-witted young maid from Paris who arrives to work on the rural Normandy estate of the wealthy Monsieur Rabour (Jean Ozenne), his daughter Madame Monteil (Françoise Lugagne) and her husband Monsieur Montiel (Michel Piccoli), soon becoming conversant with the family's many quirks. A scathing commentary on the fascism that was gaining ground in 1930s France underpins the film, as Celestine realises that, despite their hypocrisy and moral corruption, it is not her dim-witted bourgeois employers that pose a threat so much as the scheming, Jew-hating upper servant Joseph (Georges Géret), who rules the servants with intimidation and colludes with his bourgeois employers to serve his own interests. In 'Belle De Jour' (1967), a bored doctor's wife (Catherine Deneuve) hears of a brothel operating near her home. Struck by a sudden desire, she goes to the brothel and offers her services in the afternoons. She encounters a wide range of characters, eventually running into a friend of her husband... In 'Tristana' (1970), Deneuve plays a young devout woman who goes to live with her male guardian after her mother's death. His intentions towards her are clearly more than fatherly, however, leading to an enforced marriage and Tristana eventually fleeing to Madrid, when she falls in love with a young artist. Years later, afflicted with a life-threatening illness, she plots revenge against the man who had stripped her of her innocence. In the surrealist satire 'The Discreet Charm of the Bourgeoisie' (1972), well-to-do couple the Thévenots (Paul Frankeur and Delphine Seyrig), accompany M. Thévenot's colleague Rafael Acosta (Fernando Rey) and Mme. Thévenot's sister Florence (Bulle Ogier), to the house of Henri and Alice Sénéchal (Jean-Pierre Cassel and Stéphane Audran), who are hosting a dinner party. So begins a series of increasingly bizarre episodes and surreal dream sequences as the diners, over the course of the following days, find themselves repeatedly frustrated in their attempts at eating out. In 'That Obscure Object of Desire' (1977), Mathieu (Fernando Rey), a widowed French businessman, becomes obsessed with a Spanish girl named Conchita (Carole Bouquet and Ángela Molina). She claims to feel the same for him but nevertheless continually frustrates the realisation of his desire. Meanwhile, in the background, a series of terrorist bomb attacks are carried out by the Revolutionary Army of the Infant Jesus. The dream-like, plotless comedy 'The Phantom of Liberty' (1974) begins with a man who falls in love with a statue during the Napoleonic wars and then moves to the modern day, where we meet a man distributing pornographic postcards (actually just pictures of public monuments), a young girl who has disappeared but who nevertheless helps the police as they prepare to search for her, and a group of dinner party guests who sit on toilets around a large dining table and then politely excuse themselves when they need to go outside and eat. Finally, the allegorical tale 'The Milky Way' (1969) follows two tramps as they undertake a pilgrimage from Paris to Compostello, Spain. Along the way they meet a prostitute, the devil, the Virgin Mary, the Marquis de Sade and Jesus.

Luis Buñuel's surrealist satire takes on targets as diverse as South American politics, the upper class and religion. Well-to-do couple the Thévenots (Paul Frankeur and Delphine Seyrig), accompany M. Thévenot's colleague Rafael Acosta (Fernando Rey) and Mme. Thévenot's sister Florence (Bulle Ogier), to the house of Henri and Alice Sénéchal (Jean-Pierre Cassel and Stéphane Audran), who are hosting a dinner party. On arrival, however, Alice explains that she expected them the following evening and has no dinner prepared. Inviting Alice to join them for dinner at a local inn, the party quickly leave when they discover that the manager died a few hours earlier and his former employees are holding a vigil over his corpse, awaiting the coroner. So begins a series of increasingly bizarre episodes and surreal dream sequences as the diners, over the course of the following days, find themselves repeatedly frustrated in their attempts at eating out.

Luis Buñuel's surrealist satire takes on targets as diverse as South American politics, the upper class and religion. Well-to-do couple the Thévenots (Paul Frankeur and Delphine Seyrig), accompany M. Thévenot's colleague Rafael Acosta (Fernando Rey) and Mme. Thévenot's sister Florence (Bulle Ogier), to the house of Henri and Alice Sénéchal (Jean-Pierre Cassel and Stéphane Audran), who are hosting a dinner party. On arrival, however, Alice explains that she expected them the following evening and has no dinner prepared. Inviting Alice to join them for dinner at a local inn, the party quickly leave when they discover that the manager died a few hours earlier and his former employees are holding a vigil over his corpse, awaiting the coroner. So begins a series of increasingly bizarre episodes and surreal dream sequences as the diners, over the course of the following days, find themselves repeatedly frustrated in their attempts at eating out.

Jacques Rivette's elusive, disquieting drama that many considered to herald his second wind as one of the great French filmmakers. The plot concerns a number of drama students who encounter the same mysterious man, who tells them each a different story about a friend in danger. The inherent theatricality of the drama students plays into the film's aura of unresolved menace, where conspiracy is so pervasive that it is essentially invisible. The film intentionally creates an air of mystery and paranoia designed to leave the viewer unsettled and grasping for explanations.