A Cat in Paris
Dec 15 2010
•1h 10m
•Animation, Comedy
A thrilling mystery that unfurls in the alleys and on the rooftops of the French capital, Paris, over the course of one adventurous evening.
Cast
See all
Dominique Blanc
Jeanne (voice)
Bruno Salomone
Nico (voice)
Jean Benguigui
Victor Costa (voice)
Bernadette Lafont
Claudine (voice)
Recommendations
See all
Quatre étoiles
Franssou, a charming Parisian English teacher, who shares part of her life with a boring middle-aged lover, dreams of another life. So, when she unexpectedly inherits 50,000 euros, she grasps the opportunity and goes to the French Riviera in order to take it easy in luxury. In the four-star hotel where she rents a room she comes across Stéphane, a strange guy who is in the process of arranging Elton John's next coming to the place. Intrigued by the noisy ostentatious fellow, she follows him until she finally comes into contact with him. She knows Stéphane is at bay and decides to take advantage of it.
Phantom Boy
At a hospital in New York, Alex, a police officer, meets Leo, a boy who has the ability to get out of his body and pass through the walls like a ghost. Both team up with Mary, an intrepid journalist, to capture a disfigured villain who terrorizes the city.
The Silences
Nuria, 12, Fabio, 9, and their mother arrive on a small island in the middle of the Amazon, bordering Brazil, Colombia and Peru. They fled the Colombian armed conflict, in which their father disappeared. One day, he mysteriously reappears in their new home.
La Rabbia
Documentary footage (from the 1950s) and accompanying commentary to attempt to answer the existential question, Why are our lives characterized by discontent, anguish, and fear? The film is in two completely separate parts, and the directors of these respective sections, left-wing Pier Paolo Pasolini and conservative Giovanni Guareschi, offer the viewer contrasting analyses of and prescriptions for modern society. Part I, by Pasolini, is a denunciation of the offenses of Western culture, particularly those against colonized Africa. It is at the same time a chronicle of the liberation and independence of the former African colonies, portraying these peoples as the new protagonists of the world stage, holding up Marxism as their "salvation", and suggesting that their "innocent ferocity" will be the new religion of the era. Guareschi's part, by contrast, constitutes a defense of Western civilization and a word of hope, couched in traditional Christian terms, for man's future.