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The title of this French "reality" drama, which translates to Before the Deluge, is a play on Louis XVI's famous prognostication, "Apres moi, le deluge." Set in 1950, the film concentrates on five Parisian adolescents. Certain that the next war will herald the apocalypse, the youngster make plans to run off to a desert island and set up a new society. This, however, will require money, which is why the boys decide to pull off a "necessary" robbery. Idealism collapses in the face of cold reality, as the five youths suffer from the consequences of their actions. Avant le Deluge was one of a group of films cowritten by director Andre Cayatte and Charles Spaak which endeavored to explore the touchy social issues of the day: others in the Cayatte-Spaak canon include the euthanasia-themed Justice est Faite and the capital-punishment tract Nous sommes tous des assassins.
Sylvio, a successful singer, has found a way to take a peaceful vacation, safe from his female adulators: to travel incognito. He puts up at an old castle whose landlord, Count Fabrice, a ruined nobleman, seeks a hidden treasure. Posing as the nephew of the castle gardener, Sylvio enjoys happy days and even finds the time to fall in love with Gracieuse, the count's daughter. Unfortunately for him, his impresario ends up locating him...
In North Africa, an anguished husband tests the character of the doctor he believes is responsible for his wife’s death.
Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.
Angelo, a glass-blower from Murano, and Georgia Maglia, the pretty daughter of a fallen fascist magistrate, are chosen to be the stand-ins for the stars of a film version of "Romeo and Juliet" being shot on location in Venice and Verona. It is not long before they fall in love and their romance parallels that of Shakespeare's timeless heroes. Indeed their union is threatened by the schemings of Raffaele, the Maglia family's dubious tout...
Elsa Lundenstein is accused of having murdered her lover. The jury discusses the case vividly. All members are somehow prejudiced because of personal life experience and subsequently each member reads something different into the presented facts.
Three young men are suspected of kidnapping and murdering a little boy. Most likely, two of them are really involved, but one is not. All of their pasts are questionable, riddled with violence and controversy. Neither the police nor the court can decide how to solve that puzzle.
A rebellious socially-conscious man travels to Nepal to find his dead-beat dad. There, he meets Jane, a beautiful hippie girl hooked on drugs. He's forced to steal artefacts for his father's slimy employer to earn money to help Jane.
A desperate woman, whose son is on trial for murder, blackmails the judge and kidnaps his wife.
A teacher runs an ad in the newspaper to find a wife. Afraid of beautiful ladies, he weds an ugly woman. After a car accident, he meets a doctor who offers to reveal his wife's beauty.