The scene takes place in Paris in March 1793 during the Reign of Terror. The Knight of Maison-Rouge, posing as Citizen Morand, is organizing the escape of Queen Marie-Antoinette. He is assisted in his undertaking by Dixmer, a master tanner who passes himself off as an ardent revolutionary and his wife Geneviève, who also happens to be the Knight's sister. While on mission with her brother, she is saved from arrest thanks to the intervention of Lieutenant Maurice Lindey. Geneviève, who is married without love to Dixmer, falls for the young man, who requites her love. A tunnel is dug between a house rented by Dixmer and the Tower of the Temple but the various attempts to rescue the queen attempts fail. Marie-Antoinette risks the guillotine/ Moreover, Lindey finds himself involved in the plot...
Albert Capellani
Director
Paul Escoffier
Le Chevalier de Maison-Rouge, alias le citoyen Morand
Mévisto
Le citoyen Rocher
Marie-Louise Derval
Geneviève Dixmer
Léa Piron
La reine Marie-Antoinette
Georges Dorival
Dixmer
Jean Jacquinet
Le général Santerre
Jane Maylianes
Héloïse Tison
Mary Massart
Arthémise
Henri Rollan
Le lieutenant de la garde nationale Maurice Lindey
Georges Flateau
Lorin
Émile Mylo
L'homme aux provisions
There’s been a longstanding criticism of sci-fi films about its lack of Black characters. For the past few years, Anthony Mackie has been successfully representing Black masculinity in the otherwise homogenous genre and I am here for it.
Dead to Me Season 2 pulls together elements of comedy, drama, romance, and thriller to craft this truly gripping series.
Armed with a $400M budget and Tom Cruise’s death-defying stunts, Mission: Impossible – The Final Reckoning delivers pulse-pounding action even as its plot falters. From underwater silence to high-altitude madness, it's pure adrenaline powered by old-school movie magic — but is this really Ethan Hunt’s final mission?
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
Mirrorball is full of passion and love for the medium of cinema and is indeed a fitting love letter to La La Land.