Since the early days, Jerry Lewis – in the line of Chaplin, Keaton and Laurel – had the masses laughing with his visual gags, pantomime sketches and signature slapstick humor. Yet Lewis was far more than just a clown. He was also a groundbreaking filmmaker whose unquenchable curiosity led him to write, produce, stage and direct many of the films he appeared in. However, American critics and the cultural elite tended to reject his abrasive art. While they viewed Lewis as nothing more than just a clown, others like the French recognized him as a true auteur, giving rise to questions that have perplexed American pop culture for over 50 years: Why do Europeans love Jerry Lewis? What is this inexpliquable aversion Americans have towards him? Is he just a brash, anything-for-yuk buffoon? Or is he a creative genius? Who is the man behind the clown?

Alain Leroy is having a course of treatment in a private hospital because of his problem with alcohol. Although he is constantly distressed, he leaves the hospital and tries to meet good old days' friends. None of them will be helpful, increasing Alain's distress.

In his mesmerizing debut feature, twenty-four-year-old director Louis Malle brought together the beauty of Jeanne Moreau, the camerawork of Henri Decaë, and a now legendary score by Miles Davis. A touchstone of the careers of both its star and director, Elevator to the Gallows is a richly atmospheric thriller of murder and mistaken identity unfolding over one restless Parisian night.

Internationally acclaimed director Louis Malle has taken a taboo subject - child prostitution - and has created in Pretty Baby a film of humanity and beauty. E.J. Bellocq (Keith Carradine) is a photographer obsessed with the prostitutes in New Orleans' red-light district. Violet (12-year-old Brooke Shields), a young girl in 1917, bewitches Carradine with her curiosity and naive coquettishness. Malle's level-headed treatment of this controversial theme and exceptional performances by the entire cast (especially Susan Sarandon as Violet's prostitute mother) makes Pretty Baby a must-see for all serious film fans.

In Louis Malle’s captivating and philosophical My Dinner with André, actor and playwright Wallace Shawn sits down with friend and theater director André Gregory at an Upper West Side restaurant, and the two proceed into an alternately whimsical and despairing confessional on love, death, money, and all the superstition in between. Playing variations on their own New York–honed personas, Shawn and Gregory, who also wrote the screenplay, dive in with introspective, intellectual gusto, and Malle captures it all with a delicate, artful detachment. A fascinating freeze-frame of cosmopolitan culture, My Dinner with André remains a unique work in cinema history.

Wallace Shawn and Julianne Moore head an extraordinary ensemble cast in a striking adaptation of Chekhov's drama of people trapped between reality and longing. When an elderly retired professor and his beautiful young wife return to the country estate left to the family by the professor's deceased first wife, they find themselves surrounded by other family members. Quickly, the estate becomes a hothouse of unspoken passions, jealousies and regrets. Based on David Mamet's adaptation of Chekhov's "Uncle Vanya."

Academy Award, Emmy Award and Golden Globe-winner Jeremy Irons ("Reversal of Fortune," "Elizabeth") stars as Dr. Stephen Fleming, a respected member of Parliament who falls passionately in love with Anna (Academy Award-winner Juliette Binoche "The English Patient," "Chocolat"), the fiancee of his son, Martyn (Rupert Graves "Maurice," "V for Vendetta"). Stephen and Anna pursue their illicit affair with obsessive abandon despite the danger of discovery and the resulting harm it would do to his complacent life, to Martyn, and to his wife, Ingrid (Academy Award-nominee and Golden Globe-winner Miranda Richardson "The Crying Game," "Tom and Viv"). Completely obsessed, Stephen wants to give up his current lifestyle to be with Anna. But she has no intention of allowing him to do this, preferring to have her marriage to his son as a cover. However, they are eventually discovered and are forced to deal with the emotional Damage.

Oscar-nominated Ed Harris portrays a dejected Vietnam veteran whose trade as a shrimp fisherman is threatened when an influx of Vietnamese immigrants move into his small, bayside community. Tensions mount, finally erupting into a violent episode in which Harris battles not only the burgeoning immigrant community, but also his own emotionally scarred psyche as well.

Meet a bunch of crazy, off-the-wall characters who would buy the American Dream, if only they could afford the down-payment. There's Weslake, out of work but never short of hope; Boardwalk, a pimp with a heart of gold and a baby; Ramon, a part-time electrician who specializes in hot wiring cars; Dillard, a permanent resident of outer space; Turtle, a little guy with a big appetite; and Maxine, a diligent meter maid who's on the make. They're all "customers" of Melvin Garvey's Pawn Shop. He's the meanest, money-hungriest man in town. He owns a safe that holds the answer to their prayers...the gold at the end of the rainbow. With the right direction, they might bungle their way to success…if just one of them knew where they were going.

The people and the story are magnetic; the background is the city of dreams that almost came true. Atlantic City is revitalized as a resort when gambling is legalized. But the new industry also brings unsettling changes. For Lou (Burt Lancaster), 40 years a bodyguard-boyfriend to aging beauty queen Grace (Kate Reid), his numbers-running sideline escalates to mob involvement. A drug-related slaying leaves him with a small fortune, a new car and a new girl, Sally (Susan Sarandon), who is the perfect completion of his fantasy. This romantic thriller won the Golden Lion award for Best Film of 1980 at the Venice Film Festival.