Apostrophes was a live, weekly, literary, prime-time, talk show on French television created and hosted by Bernard Pivot. It ran for fifteen years (724 episodes) from January 10, 1975, to June 22, 1990, and was one of the most watched shows on French television (around 6 million regular viewers). It was broadcast on Friday nights on the channel France 2 (which was called "Antenne 2" from 1975 to 1992). The hourlong show was devoted to books, authors and literature. The format varied between one-on-one interviews with a single author and open discussions between four or five authors.

No synopsis available yet.

Le Grand Échiquier is a French variety television program created and presented by Jacques Chancel. It aired at 8:30 pm on the first channel of the ORTF from January 12, 1972 to July 12, 1972, then on the second color channel of the ORTF from September 1972 to December 1974, and finally on Antenne 2 from January 1975 to December 21, 1989. The program returned to France 2 on December 20, 2018 and is hosted by Anne-Sophie Lapix.

No synopsis available yet.

No synopsis available yet.

A young French teenage girl after moving to a new city falls in love with a boy and is thinking of having sex with him because her girlfriends have already done it.

An ambitious teaching student's finals studies are interrupted by a passionate affair with a jazz musician.

In May 1974, Valéry Giscard d'Estaing became President of the Republic and wanted to bring about a new era of modernity. One of his first decisions was to break up the ORTF with the creation of three new television channels: TF1, Antenne 2 and FR3. Three new public channels but autonomous and competing. It is a race for the audience which is engaged then, and from now on the channels will make the war! This competition will give birth to a real golden age for television programs, with variety shows in the forefront. The stars of the song are going to invade the living rooms of the French for their biggest pleasure. This unedited documentary tells the story of the metamorphosis of this television of the early 1970s, between freedom of tone, scandals, political intrigues and programs that have become mythical.

A feature-length documentary about François Cavanna—creator of the publications Charlie Hebdo and Hara-Kiri—who passed away on January 29, 2014. His influence on several generations of writers, journalists, and comedians is far too little known. While older audiences are aware that he co-founded Hara-Kiri and Charlie Hebdo with Choron, the dozens of books and collections he wrote or contributed to remain largely unfamiliar. People chiefly remember his early autobiographical works—such as *Les Ritals*, *Les Russkoffs*, and *Bête et méchant*—while overlooking his historical novels, encyclopedias, and polemical writings like *Stop crève…* The film draws on interviews with Cavanna conducted shortly before his death, forgotten archival footage, and previously unheard testimonies from figures such as Siné, Willem, Delfeil de Ton, and Sylvie Caster.

On April 2, 1995, the television channel Canal+ censored the documentary "Pas vu à la télé" (Not Seen on TV), directed by Pierre Carles, which had been commissioned a few weeks earlier by the program director, Alain de Greef. "Pas vu à la télé" was slated to be featured in Canal+'s "TV Day" segment, under the heading "Television, Power, Morality." Carles recounted this censorship in the feature film "Pas vu pas pris" (Not Seen, Not Caught), released in theaters on November 18, 1998. It drew over 160,000 viewers. Eighteen years later, "Pas vu à la télé" remains unaired on French television. As for "Pas vu, pas pris," it has still not been broadcast on French television. However, it has been shown on television in Belgium, Quebec, and Switzerland. Since then, nine billionaires now control more than 80% of the media in France, while eleven of them account for 57% of the television audience.

Mixing interviews, rare archival footage and film extracts, the film shows how Melville's works were impacted by what he experienced in his youth during WWII, and how it structured his whole approach to cinema, not only in its thematic but also in its aesthetics.

Charles Aznavour talks to Jacques Chancel, evoking happy memories such as the pain au chocolat at tea time, or Graziella, his first love at the age of 12. The singer talks about his career, his admiration for Trenet and Brassens, and his marriage, “a happy and definitive stopover”. These confidences are interspersed with excerpts from concerts and rehearsals.