Search: Starring Michel Piccoli

Couture by Yves Saint Laurent and lush photography drown us in luxurious chic.

If Belle De Jour was an examination of 'feminine mystique', this film is an examination of male obsession with it.

John Phillip Law is a bit wooden in the central role, though, like Roger Moore as Bond, he compensates by doing one particular expression really well.

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

Anyone with a decent education in literature and art will find a great deal in this film which can be treasured, but for the general viewer it is likely to be an exercise in frustration.

It’s a real shame that the director doesn’t show enough interest in his own story or characters to make them anything more than sketches and surfaces.

A vivid technicolour medley that touches on the intense relationship between art and the artiste, while showcasing some dazzling costumes and dance routines in true homage to the Belle Epoque.

Mendes more veiled than unveiled and, at times, resembling the Virgin Mary, is wonderful, confused and tender.

This film is one of the most rounded of any of Godard’s work and can easily be viewed as ‘mainstream’ – the more philosophical riddles being purely optional.

Instead of bringing their desperation to life, the narrative unfolds in such a cold and detached manner, and with such austere dialogue and characterisation, that it becomes difficult to identify either with the passionate release that the lovers enjoy to

Godard breaks down the barrier between documentary and fiction.

Fabrice Luchini slips his leash and gives the funniest performance of the year, with Michel Piccoli, in a support role, coming a strong second.

A pleasingly thoughtful and warm-hearted exploration of religion, morality and personal responsibility.