In this gothic romance based on a 1950s novel by Robert Margerit, after a whirlwind romance, Violette, a Parisian girl, has married Gustave Dupin, a charming aristocrat, and returned with him to live on his country estate. There, she begins to discover that all is not as it seemed, and beneath her groom's charming exterior is an undreamt-of savagery. She forms an alliance with her husband's much saner brother Bastien which saves her in the end, but not before she must go on trial for the murder of her husband.
Jacques Deray
Director
Béatrice Dalle
Violette
Philippe Volter
Gustave
Stéphane Freiss
Bastien
Geneviève Page
Nathalie Dupin
Michel Duchaussoy
Investigating judge
Hervé Laudière
Antoine
Jenny Clève
Anna Bourderias
Pierre Vial
Dr. Charles
Jacques David
Le président Boissot
Claudine Delvaux
Rose Charles
Pierre Romans
Le curé
Unlike other documentaries about Princess Diana, Perkins’ film, 'The Princess', is an entire documentary consisting of media coverage and public opinion, rather than a typical series of people interviewed with firsthand experience of the Princess. 'The Princess' beautifully depicts how we perceive Diana as a media figure rather than a real person, specifically creating her persona as a fairytale figure turned saint and icon.
Highlighting the many ways in which AFF 2023 illustrated that the queer experience is not a monolithic one.
James Cameron’s “Aliens” (1986) is a pinnacle of science fiction storytelling. Within this classic monster movie lies a powerful female character, Ellen Ripley (brilliantly portrayed by Sigourney Weaver).
Although the budget was a dollar and a dream, Netflix's 'First Kill' managed to gain over 90 million viewing hours and a small cult following. So why was it canceled? Given the trends in series cancellations, it may have been because of the Black and queer protagonists.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.