Search: Starring Jeanne Moreau

Showcases the venerable maverick’s directorial style at is best and its worst.

A great story, however flawed.

The didactic attitudes to pleasure of the day are one of the reasons that Vadim’s original Dangerous Liaisons works better than in more modern interpretations.

It is Buñuel's acerbic vision of all that is wrong, in all layers of society, that is so chilling.

Maurice Ronet gives a towering performance.

Restricted by budget, and talky and cumbersome in places but bears flashes of brilliance that remind you just who is in control of the action.

A beautifully shot fun romp that isn't afraid to question received ideals of morality and find them wanting.

It's a slender film. A bit pale, like the light at the Baltic Sea, or a piece of ham that's been left on the plate too long.

In this very impressive debut from Louis Malle, the small budget proves no impediment to delivering a taut thriller.

The film is as fresh as it was in 1958. As challenging as it was then. And as beautiful.

Apart from the femme-fatale-in-overdrive aspect of this film, it is also visually satisfying in every possible way.

Losey had shown how adept he was at claustrophobic interiors before, with the likes of The Servant, but here he also shows a flair for more abstract sweeping cinema.

Cineastes should delight in the opportunity to behold the work of a pioneer.

Welles – who felt this was the best movie he ever made – evokes the feeling of menacing, disorientating bureaucracy, of the senselessness of our existence, of inexplicable and inescapable threat.

Time To Leave is at times laboured, but it is an intelligent film.

Unlike many lightweight mainstream films, its dominant ideologies are refreshingly subversive.