Best movies like Son nom de Venise dans Calcutta désert

In a remote South American colony in the late 18th century, officer Zama of the Spanish crown waits in vain for a transfer to a more prestigious location. He suffers small humiliations and petty politicking as he increasingly succumbs to lust and paranoia.

In an industrializing Italian town, a married woman, rendered mentally unstable after a traffic accident, drifts into an affair with a friend of her husband.

A woman suffers a subdued psychological breakdown in the wake of a devastating breakup.

A lonely widowed housewife does her daily chores and takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet. Slowly, her ritualized daily routines begin to fall apart.

A blending of documentary and experimental narrative strategies, combining stunning 16mm landscape cinematography with a bold, lyrical voice-over to share two San Francisco stories: the history of the Golden Gate Bridge as “suicide landmark,” and the story of a butch dyke in San Francisco searching for love and self-discovery. The Joy of Life is a film about landscapes, both physical and emotional.

Atmospheric soundtrack follows this compilation of nature footage that focuses on the ocean and various life forms that live, mate and die in it.

In an empty villa, Vera Baxter sits and contemplates her life, as she recounts to a woman who was drawn to the villa when she heard the name Vera Baxter pronounced. Vera tells her about her no-good husband, who has been using her to keep his failing business afloat, up to her present love affair.

During a beautiful summer, Ivan, a young Russian arriving in Paris, lives in extreme precariousness. He settled in a small camp, but soon he discovered a clandestine life where rode male prostitution is a law. He meets young equivocal men and women over whom he has no hold. Then it's his meeting with Pierre, a young father who will seal his destiny and with which he will commit the irreparable.

Young, wild poet Arthur Rimbaud and his mentor Paul Verlaine engage in a fierce, forbidden romance while feeling the effects of a hellish artistic lifestyle.

Paul, a young idealist trying to figure out what he wants to do with his life, takes a job interviewing people for a marketing research firm. He moves in with aspiring pop singer Madeleine. Paul, however, is disillusioned by the growing commercialism in society, while Madeleine just wants to be successful. The story is told in a series of 15 unrelated vignettes.

A compilation of images co-creator Frank Mouris had collected from magazines interwoven with two narrations, one giving a mostly linear autobiography and the other stating words having to do with the images, the story the first voice is relating, or neither.

Recently deceased, a white-sheeted ghost returns to his suburban home to console his bereft wife, only to find that in his spectral state he has become unstuck in time, forced to watch passively as the life he knew and the woman he loves slowly slip away.

Inga is a mother with the soul of a poet at a crossroads. Her estranged husband Hermann is bereft of emotional support for her in the wake of her recovery from breast cancer, let alone her passion for buying and restoring and house that reminds her of her childhood home. She shares a close bond with her eight-year-old daughter, and though she is troubled by her decaying marriage, she retains a strong spirit of optimism, as expressed in her own writing.

Someone we hear talking - but whom we do not see - speaks of a project which describes the four key moments of love: meeting, physical passion, arguments/separation and making up. This project is to be told through three couples: young, adult and old. We do not know if the project is for a play, a film, a novel or an opera. The author of the project is always accompanied by a kind of servant. Meanwhile, two years earlier, an American civil servant meets with an elderly French couple who had fought in the Resistance during World War II, brokering a deal with a Hollywood director to buy the rights to tell their story. The members of the old couple's family discuss heatedly questions of nation, memory and history.

India, 1937. Anne-Marie Stretter is the wife of the French ambassador and leads a solitary yet privileged life in Calcutta. The tedium of her existence is relieved by numerous illicit love affairs with government officials, young men who find her an object of desire and fascination. The Vice Consul is driven insane by his love for her and, expelled from the ambassador’s palace, cries like a sick animal. Life continues for Anne-Marie Stretter, the same tedious existence…

Therese, a café owner, mourns the mysterious disappearance of her husband sixteen years earlier. A tramp arrives in the town and she believes him to be her husband. But he is suffering from amnesia and she tries to bring back his memory of earlier times.

Luo Hongwu returns to Kaili, the hometown from which he fled many years ago. He begins the search for the woman he loved and whom he has never been able to forget.

A young student decides to have no more interaction with the world than is needed to minimally sustain life. His increasingly automaton-like behavior is coupled with a strange clarity of insight about the world around him.

A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

On the eve of his 78th birthday, the ailing, alcoholic writer Clive Langham spends a painful and sleepless night mentally composing and recomposing scenes for a novel in which characters based on his own family are shaped by his fantasies and memories, alongside his caustic commentary on their behaviour.

Sarah returns with her father and uncle to fix up the family's longtime summerhouse after it was violated by squatters in the off-season. As they work in the dark, Sarah begins to hear sounds from within the walls of the boarded-up building. Although she barely remembers the place, Sarah senses the past may still haunt the home.

The diary of Sam, 27, with its joys, its sorrows, its sexual obsessions.

The story of a pair of children born within moments of India gaining independence from England, growing up in the country that is nothing like their parent's generation. A Canadian-British film adaptation of Salman Rushdie's novel of the same name.

An avant-garde examination of the relationship between women and money in society. Mixing musical, silent melodrama, and philosophical treatise into a post-punk, heady brew.

After graduation, five friends set out to make a difference in the world for God. Their ambitions are high, their passions are strong but will they have the courage to fulfill their calling regardless of what comes their way. The sacrifice they are asked to pay may just be too high. Through Godly council from an outside source, the group realizes that this is not their time after all, it's all His.

Greece, 1936. An aristocratic woman engages in a series of loveless affairs before finding herself falling for a political activist.

A fifty year old woman, scarred by a life of disillusionment and regret, returns to the place where she lived twenty years before, to rekindle happier memories. She meets a young woman, the daughter of the current owners of the property, who is on the point of abandoning her home – just as she did, all those years ago...

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.

An old lady returns from Africa where she made a fortune to find her son in Paris, whom she has not seen in five years, with the intention of bringing him back with her. But this project fails.

An androgynous poet/dreamer sits and writes and meditates on the aching void that is her life.

Master filmmaker Alexander Sokurov (Russian Ark) transforms a portrait of the world-renowned museum into a magisterial, centuries-spanning reflection on the relation between art, culture and power.

In the last days of the Nazi-occupied France, writer Marguerite Duras awaits the return of her husband, Robert Antelme, arrested for being a Resistance fighter and then deported, while she maintains a tense relationship with her ambiguous lover and a dangerous game with a French collaborationist. Even when the Liberation arrives, she must still endure the unbearable pain of waiting.

A young journalist (Lespert) helps the French President compile his memoirs.

When French writer Marguerite Duras (1914-96) published her novel The Sea Wall in 1950, she came very close to winning the prestigious Prix Goncourt. Meanwhile, in Indochina, France was suffering its first military defeats in its war against the Việt Minh, the rebel movement for independence.

Her whole childhood, Marguerite Duras spent her time moving. Her house in Neauphle-le-Château is the one she has lived in the most, and the one she says: “All the women in my books have lived in this house. All ... ” Duras tells about her house and her garden closely linked to his work, remembers the forest of her childhood and evokes her fear of music.

Balkan Baroque is a real and imaginary biography of the Yugoslavian performance artist Marina Abramovic. Rather than a mechanical reproduction of the artist's work, the film tries to create a new reality by translating the performances into cinematographic images that intensify the fictional context of the film. Abramovic plays herself, but ,appearing in multiple forms, blurs her own identity. Memories and fantasies intermingle with day to day rituals. The chronological narrative often breaks to reflect the interior voyage of the protagonist from the present to the past and back to the present. The result is a visually impressive film. Balkan Baroque had its world premiere at the International Film Festival Rotterdam, 1999.

On June 3, 1991, Marguerite Duras gave me her last published work, "The North China Lover", autographed for the first time. She wrote: "For my friend Dominique Auvray, in memory of a wonder of wonders: a still recent past, when we worked together in the cinema". This is a portrait of her as she was cheerful and serious, authentic and provocative, considerate and categorical, but first and foremost young and free.

Mavie is 27 years old and has just moved to the French capital from the provinces. She dreams of a future as a writer but is plagued by doubt and uncertainty. 76-year-old misanthrope Georges runs a bookshop in Paris – or has he merely been forced to take refuge there to escape his past? These are two peculiar creatures indeed. Georges is cynical and no longer expects much from life, while Mavie is still brimming with expectation. Yet something magical happens between them, until Georges' dark secret suddenly catches up with him – and Mavie is caught up in something very different...

Ernesto, a seven-year-old boy who has the body of a thirty-year-old man, decides, upon attending his first day of school, that he no longer wishes to attend, because he does not wish to be taught matters that he does not know.

In the 70s, actress Delphine Seyrig and director Carole Roussopoulos, both militant feminists, were the pioneers of video activism in France. They documented the demonstrations of French feminists and used the new technologies to counter the poor representation of women in the public media.

Delphine Seyrig, an extraordinary woman and actress, died on October 15, 1990. From "Last Year at Marienbad" by Alain Resnais to "India Song" by Marguerite Duras, she played in 34 films for cinema, 13 films for television and 33 plays. Jacqueline Veuve, filmmaker and friend of Delphine Seyrig, wanted to break the silence that has fallen on her memory by making a documentary that traces with emotion and subjectivity the life of the mythical actress, the fierce feminist but also the simple friend.

A silent, surreal parallel between a couple and a dog.

A man and his sister meet at a seaside village to discuss their relationship.

In this most talky and personal of films, director Marguerite Duras and actor Gerard Depardieu do an on-camera read-through of a movie script. Occasionally, the director comments about the characters or their motivations, and sometimes the actor does. That's all -- there is no action, there are no location shots, no one pretends to be anything else. The script itself tells about an encounter between a blank-slate of a woman hitchhiker, and a communist truck driver. As the reading progresses, Duras comments bitterly about the failed ideals of communism and the glorious revolution that will probably never happen.

With little or no embellishment, filmmaker Marguerite Duras offers a simple, often wordless chronicle of a woman's day. She and her friend are seen doing yard work, talking about their families and receiving the occasional visitor. The brightest spot in the day is when a washing machine salesman comes to call.

Each night in Paris, hundreds of men and women anonymously use telephone lines that date from the German Occupation and are no longer listed to talk to each other, to love each other. These people, shipwrecked lovers, are dying to love, to escape the abyss of solitude.

In a secluded hotel circumscribed by a dense forest Max and Alissa Thor meet Stein and Elisabeth. Max, a professor of future history and an aspiring author, is immediately attracted to the brooding wife of industrialist Bernard Alione, Elisabeth, who is recovering from a miscarriage. Stein, a German Jew and potential writer, is infatuated by Alissa, Max's young wife and former student. During their sojourn the guests' identities gradually meld.

Cet Amour-là is an intimate portrait of a legendary love affair. Set against the beauty of the Breton seaside, it is also a film that revels in the insights that Marguerite Duras' writing affords.

In 1982, Yann Andréa and Marguerite Duras have been living together for two years. She is almost 70 years old, while he is 38 years her junior. Andréa asks journalist and writer Michèle Manceaux to interview him about his life with Duras, an obsession that both impassions him and drives him mad. He believes by entrusting their story to Manceaux, he may gain more clarity of the relationship. What follows is an intense and compelling conversation delving into the deepest recesses of modern love.

A man is sent back and forth and in and out of time in an experiment that attempts to unravel the fate and the solution to the problems of a post-apocalyptic world during the aftermath of WW3. The experiment results in him getting caught up in a perpetual reminiscence of past events that are recreated on an airport’s viewing pier.