Olivier Rabourdin

Daniel cruises the Gare du Nord where Eastern European boys hang out. One afternoon he plucks up his courage to speak to Marek, one of the boys and invites him to his home. However, next day when the doorbell rings, Daniel hasn't the faintest idea that he has fallen into a trap.

Private detective Gabriel Laurens is forced to face the ghosts of his past when his niece recruits him to investigate her father’s suspicious death.

After a decade-long absence, Catherine Breillat triumphantly returns with an exploration of the themes that have made her one of cinema’s most rousing and controversial directors: the ecstasies and wounds of sexuality, and its power to unsettle. A remarkably inscrutable Léa Drucker plays Anne—an attorney advocating for abused minors—who enjoys an enviable lifestyle with her husband, Pierre (Olivier Rabourdin), a milquetoast businessman and ineffectual father to Théo (newcomer Samuel Kircher), his troubled teenage son from a previous marriage. Compelled by her stepson’s Apollonian beauty, Anne embarks on an affair that threatens the stability of her household, along with her professional integrity, as she faces a choice between accountability and deception. Original music by Kim Gordon and radiantly expressionist cinematography by Jeanne Lapoirie heighten the erotic and ethical tensions of LAST SUMMER, Breillat’s latest foray into the outer limits of desire.

Ex-C.I.A. agent becomes a one-man killing machine after his daughter is kidnapped.

A young and talented black box analyst is on a mission to solve the reason behind the deadly crash of a brand new aircraft.

From showgirls to nuns: the latest sensation from the king of erotic thrillers immerses us in the religious visions and illicit desires of a 17th-century mystic abbess. Sensual, elegant and scandalous, Benedetta offers up a perversely provocative critique of religious hypocrisy.

Emotions run high for the women at Paridier farm when the sons return from war and a mysterious stranger becomes the center of a family disturbance.

It is 1961 and Rudolf Nureyev, not yet the imperious figure of legend, is a member of the world-renowned Kirov Ballet Company.