François Truffaut Collection (ej svensk text)

From the godfather of the French New Wave comes eight unmissable films, each with their own voice and colour but cut from the same distinctive Truffaut cloth; from the unassailable hallmarks of Jules & Jim and Shoot the Pianist to his final homage to his hero Alfred Hitchcock and the masters of noir with Finally, Sunday. Engross yourself in a world through the lens of one of the most important and influential film- makers to have ever lived with The Franc¸ois Truffaut Collection. SHOOT THE PIANIST (1960) Charlie plans to live out his downcast days honestly and simply, playing piano in a dingy Parisian jazz bar. But one day his brother Chico arrives searching for sanctuary from a gang of crooks and Charlie’s life is once again not so simple. JULES & JIM (1962) Two inseparable friends share a love for the beautiful and capricious Catherine. The trio decide to create a new life for themselves away from the structures imposed by society but as the idyllic me´nage-a`-trois begins to succumb to jealousy their idealised existence begins to buckle. THE SOFT SKIN (1964) When successful academic Pierre catches a glimpse of Nicole, a beautiful young air stewardess, his life changes forever. Setting out on a whirlwind affair of lust and secrecy, his comfortable, bourgeois family life will be thrown into disarray and there is only one, tragically inevitable way out. ANNE & MURIEL (1971) A young Parisian man meets two English girls on a turn-of-the-century trip to Wales sparking a relationship spanning over 20 years during which time alliances will be formed, broken and reassembled in a tumultuous yet humorous portrait of human bonding. A GORGEOUS GIRL LIKE ME (1972) Stanislas, a sociologist researching a book on female criminals, travels to a prison to interview an inmate incarcerated for murdering her lover, husband and supposedly her father. However, he soon finds himself becoming enraptured by her charms. But all that glitters isn’t gold, sometimes it’s actually cold, hard steel. THE LAST METRO (1980) In Nazi-occupied Paris Marion and her Jewish husband decide to conceal him in the very theatre that they own with the alibi that he has fled abroad. As he hides in the cellar from the Gestapo she must continue her job as lead actress in the play and take on her husband’s job as director to hold up the fac¸ade. THE WOMAN NEXT DOOR (1981) Bernard is living happily with his wife and son when a former lover of his from many years ago moves in with her husband next door. Their relationship is revived and their lives are hurled into crisis in this examination of human emotions, desire and life. FINALLY, SUNDAY (1983) When a man is murdered all the clues point to Julien Vercel as the prime suspect. However, his secretary Barbara Becker is sure something is not quite right with this state of affairs and begins her own investigation into the case.