Christophe Salengro

55 years ago, on October 1 1968, the first brand advertising spot appeared on the French television screen. Over the next three decades, thousands of creative little films would seduce and build our collective memory. Kitschy or cult spots, humor, slogans, music, stars, gimmicks, grand spectacle or sex appeal: during its golden age, how did advertising convince? Thierry Ardisson has brought together almost 400 advertising clips to relive the era of the conquest of minds and wallets.

This film is a tribute to love, a tribute to cinema. Our two main characters take us with them into the intimacy of "real people". We cross the roads of France with them, in their different vans and pick-up trucks transformed for the occasion into mini movie studios. Their concept: to film "declarations of love" and to deliver them directly by van to their recipients. And we discover, as we go along, that our duo and their own personal adventures are subtly intertwined with the people they film. This mix of genres offers several universes to the spectator in order to make him question himself about love.

Noël and Guy, two young Frincheux girls, tired of their condition of eternal unemployed interim, decided to become the Steve Jobs and Larry Page of the Presidency Grown.

A group a young artists are making one last film before the final destruction.

No plot available for this movie.

The wealthy Deville family loses their fortune at the same time the unassuming Ricci family suddenly become internet millionaires; things look bleak until their mutual banker suggests Mr. Deville goes to work for the Riccis!

In a cinema, the day of the premiere of J'irai cracher sur vos tombes (adapted from his novel), Boris Vian has a heart attack. During his discomfort, he relives the major stages of his life: the meeting with Raymond Queneau, the nights of Saint-Germain-des-Prés, the scandal of J'irai cracher sur vos tombes, his love stories with Michelle Léglise then Ursula Kubler or his relationship with Jean-Paul Sartre. Through his memories, Boris Vian relives all his “parallel lives”.

Philibert, a robust lad and eldest son of an artichoke farmer, stands out from the other boys in the village. Idealistic and ingenuous, he foresees for himself a glorious future in artichokes and is saving his virginity for an as-yet-unknown woman chosen for him by God. Before he dies, his father tells him that he isn't his real parent. Philibert's real father was a gentleman murdered in the most cowardly way by a man from Burgundy who is recognisable by a rose-shaped strawberry birthmark on his neck. With a pouch full of ideals and artichokes, Philibert leaves his village and gallops towards Burgundy, accompanied by Martin, his rather deceitful manservant. Philibert's courage, kindness, physical and moral purity will thus be severely tested when faced with the baseness and venality of villains and the temptation of women each more lustful than the last.

It is the year 2027 and the world has suffered an unspecified socio-economic catastrophe. The aftermath is so severe that even major cities are reduced to apocalyptic wastelands where food water and shelter are scarce. A scavenger named Gilles along with his teenage son try to find their way amongst the desolate remnants of Paris. All the while they must avoid capture outside the strict, daily curfew enforced by the masked agents of a shadow government and their ferocious dogs.

In this radical and endearing black comedy, a group of retrenched female factory workers decide to pool their compensation money… and hire a hit man to liquidate their boss.