French provocateur Catherine Breillat (Fat Girl, Bluebeard) continues her deconstruction of classic fairytales with her latest, The Sleeping Beauty. Cursed at birth by an evil fairy, Anastasia is destined to prick her finger and die at the age of sixteen. When three feckless fairy sisters discover this they hatch a plan to alter the curse: rather than die, Anastasia will sleep for 100 years. While in slumber, Anastasia comes of age through a series of vivid dreams, filled with charming princes, dwarves, gypsies and magical creatures. When she reawakens a fully-formed adolescent, she finds that in real life, happy endings are more elusive than in our fantasies. Beautifully designed by Francois-Renaud Labarthe and photographed by the great Denis Lenoir (Carlos), this constantly surprising, thought-provoking investigation of the female psyche reaffirms Breillat as one of the most inventive and risk-taking of contemporary French auteurs.

Set in the idyllic countryside in Southern France, Lucy (Pauline Etienne), a teenager, lives an isolated life with her father Hugo (Olivier Rabourdin). The two share a close relationship until her warward mother returns unexpectedly. Angered by her leaving him and his daughter, Hugo incarcerates her. Meanwhile, Lucy is exploring her sensuality with a young neighboring farmer, who gets up caught in the chaos of Lucy's highly dysfunctional family.

Atmospheric, fantastical, tragic and hopeful, the film chronicles the parallel fates of Jacqueline, a young mother with a disabled son in 1960s Paris, and Antoine, a recently divorced, successful DJ in present day Montreal. What binds the two stories together is love - euphoric, obsessive, tragic, youthful, timeless love.

In the months after the heady weeks of May '68, a group of young people search for a way to continue the revolution believed to be just beginning. For Gilles (Clément Mettayer), this means having to balance his political commitments with his desire to explore painting and filmmaking; for his girlfriend Christine (Lola Créton), this means throwing herself wholeheartedly into the task of organizing.

When Cyril's father (Jérémie Renier) abandons him, he obsessively searches for his bicycle - placing his last bit of hope in this symbol of their relationship. Almost by accident, he becomes the ward of a kind hairdresser (Cécile de France - Clint Eastwood's HEREAFTER), who seems surprised to find herself so determined to help him. With his wild, unpredictable behavior and his disastrous search for father figures, Cyril risks losing her - though she refuses to give up without a fight.

A successful businesswoman who pays young male escorts for sex finds herself torn between her desire for love and her lust for anonymous encounters.

Grégoire Canvel has everything a man could want. A wife he loves, three delightful children and a stimulating job. He's a film producer. Discovering talented filmmakers and developing films that fit his conception of the cinema—free and true to life—is precisely his reason for living. His vocation. It fulfills him and Grégoire devotes almost all his time and energy to his work. He's hyperactive, he never stops. Except on weekends, which he spends in the country with his family—gentle interludes, as precious as they are fragile. With his bearing and exceptional charisma, Grégoire commands admiration. He seems invincible. Yet his prestigious production company, Moon Films, is on its last legs. Too many productions, too many risks, too many debts. Storm clouds are gathering. But Grégoire plows on at all costs. Where will his blind obstinacy lead him? One day, he is obliged to face the facts. In one word: failure. He is overwhelmed by fatigue. Which soon, secretly, turns into despair.

Wanderings and shenanigans are part of Raph's daily life! All he wants to do is hang out with his friends and find a way to earn big bucks without actually having to work. Convinced that he is about to pull off an effortlessly lucrative drug deal, he persuades his friend Alex, a small-time dealer, to partner up with him. Raph has lots of "friends" whom he too easily trusts. With friends like these, who needs enemies?

Highly controversial and previously unavailable in North America, Oscar-winner Marion Cotillard sizzles as the young and naive high school student Chloe. Her desire for a new and exciting life leads her to a charming stranger in the streets of Paris. In turn, he takes her down a dark path of prostitution and violence.

In a tale of deliverance - Laura, 27, has trouble emotionally connecting to men beyond sex. The source of her mental problem and trauma - her father - now lies helpless in a coma after a car accident. Can she forgive the man in his last hour, or will she opt for revenge?

She lives with her son and her husband in a well-to-do apartment opposite the chic Luxembourg gardens… He lives alone with his son in the back of a van. She is the director of a prestigious contemporary art foundation… He lives off odd jobs and social security benefits. She graduated after 7 years at university… He almost spent 7 years behind bars. She is on familiar terms with the Ministry of Culture and Arts… He is on familiar terms with each and every alcoholic beverage that happens to cross his path. She enjoys intellectual debates… He enjoys casual sex with large bosomed bedfellows. They are poles apart… and can’t stand the sight of one another. Besides, they should never have met, but their children are inseparable… In the end, they’ll eventually come to understand why

Based on two works by the playwright Jean Anouilh, You Ain't Seen Nothin' Yet opens with a who's-who of French acting royalty (including Mathieu Amalric, Michel Piccoli and frequent Resnais muse Sabine Azema) being summoned to the reading of a late playwright's last will and testament. There, the playwright (Denis Podalydes) appears on a TV screen from beyond the grave and asks his erstwhile collaborators to evaluate a recording of an experimental theater company performing his Eurydice--a play they themselves all appeared in over the years. But as the video unspools, instead of watching passively, these seasoned thespians begin acting out the text alongside their youthful avatars, looking back into the past rather like mythic Orpheus himself. Gorgeously shot by cinematographer Eric Gautier on stylized sets that recall the French poetic realism of the 1930s, You Ain't Seen Nothin' Yet is an alternately wry and wistful valentine to actors and the art of performance from a director long fascinated by the intersection of life, theater and cinema..

Starring Jean Reno and Melanie Laurent, Rose Bosch's La Rafle recounts the true story of the infamous Vel 'D'Hiv Roundup. A big box office hit in France, La Rafle reveals a dark chapter in France's history.

When beautiful kitchen maid Augustine (French recording artist Soko) suffers an inexplicable, violent seizure, she is sent to a psychiatric hospital specializing in the treatment of feminine "hysteria" and presided over by Dr. Jean-Martin Charcot (a founding father of modern neurology and a mentor to Sigmund Freud). Fascinated by his new patient, Charcot (Vincent Lindon) quickly makes Augustine the star attraction in a series of hysteria presentations, hypnotizing her to induce spectacular fits for crowded lecture halls. As the full nature of Augustine's affliction begins to emerge, the relationship between doctor and patient becomes more complicated and personal power dynamics start to shift. Based on a true story from late 19th century Paris, Augustine is a lush, darkly sensuous tale of romance, psychology, and sexual politics.

A powerful banker and his mistress enter a world of insatiable - and deadly - erotic desire that gradually consumes them.

Written, directed and produced by René Féret, MOZART'S SISTER is a re-imagined account of the early life of Maria Anna 'Nannerl' Mozart (played by Marie Féret, the director's daughter), five years older than Wolfgang (David Moreau) and a musical prodigy in her own right. Originally the featured performer, Nannerl has given way to Wolfgang as the main attraction, as their strict but loving father Leopold (Marc Barbe) tours his talented offspring in front of the royal courts of pre-French revolution Europe. Approaching marriageable age and now forbidden to play the violin or compose, Nannerl chafes at the limitations imposed on her gender. But a friendship with the son and daughter of Louis XV offers her ways to challenge the established sexual and social order.