The Day of the Fox

Tartuffe, a hypocritical man confided in false devotion, monopolizes the confidence of Orgon, a wealthy bourgeois and undertakes to seduce his wife Elmire. Having been unmasked by the latter, he strives to precipitate the ruin of his benefactor.

A man from a family of rich snobs becomes engaged to a woman from a good-natured but decidedly eccentric family.

During the Battle of the Bulge, word goes out to watch for German soldiers dressed as GIs. That's when black sergeant Chris Christiansen begins wondering if the GI who befriended him is really a friend-or the enemy.

While Camille refuses Perdican's advances, she takes offense when he courts Rosette. Then begins a confrontation of pride, where each seeks to establish his ascendancy over the other in the name of love.

A young black artist leaves his Los Angeles digs and travels to Europe to find himself. A theatrical stage production of the original Broadway musical.

In the Bernese Alps, the Agassizhorn peak memorialises Louis Agassiz – a controversial 19th-century scientist, who not only named the mountain after himself, but who claimed he had discovered the Ice Age and went on to become one of the century's most virulent, most influential racists.

'An instructional film made on behalf of the Department of Social Welfare, demonstrating a new technique to teach English to illiterate adult audiences in the Gold Coast. (..) This is a film with an almost entirely African cast, depicting an African teacher instructing a group of African students, produced by a predominantly African crew. Yet, the subject of the film – encouraging the widespread teaching of English – jars with this image of a modern Gold Coast. Just as the Gold Coast Film Unit was overseen by British figures – such as Sean Graham and, in this case, George Noble – this film also endorses the retention of British influence within a new national identity'. - Tom Rice, for colonialfilm.org

The action is set in Naples, opening a door onto an imagined maritime world stretching towards the Orient. Faced with two authoritarian fathers, two sons, both of whom are thwarted lovers, turn to the crafty Scapin, who is driven by a mad desire for revenge. The character is a double of Scaramouche, the Italian actor of the adventurous life whom Molière admired: “to tell you the truth, there are few things that are impossible for me, when I put my mind to them” declares the buffoonish servant whose name, as Denis Podalydès points out, derives his from the Italian scappare which means “to escape”, “to scamper off”. Scapin is beaten with a stick at one point but also gets his own back and, against a background of ransom demands and paternal contradictions, he comes up with an avalanche of stratagems and other tricks, which Molière excels in depicting.