The best Yann Dedet’s movies
Today we present the best Yann Dedet’s movies. If you are a great movie fan, you will surely know most of them, but we hope to discover a movie that you have not yet seen … and that you love! Let’s go there with the best Yann Dedet’s movies.
Confidentially Yours
7.2/10
Claude Massoulier is murdered while hunting at the same place as Julien Vercel, an estate agent who knew him and whose fingerprints are found on Massoulier's car. As the police discover that Marie-Christine Vercel, Julien's wife, was Massoulier's mistress, Julien is the prime suspect. But his secretary, Barbara Becker, while not quite convinced he is innocent, defends him and leads her private investigations.
Under the Sun of Satan
6.7/10
Satan tempts Father Dossignan, who is trying to save the soul of a young girl who killed one of her lovers.
Overseas
6.5/10
In French Algeria, after WWII, three daughters of wealthy settlers begin their adult lives. Zon marries an often absent sailor. Malene's husband, Gildas, refuses to work in the farm, so she has to take care of everything. Gritte, the youngest, does not want to marry and is a nurse for the natives. We will follow their three different destinies.
A Room in Town
6.8/10
Set against the backdrop of an increasingly violent strike, a worker falls in love with the middle-class daughter of his landlady.
Life Is a Bed of Roses
6.2/10
In this whimsical fable, Resnais deftly interweaves three story lines: the creation of an early-20th-century utopia; romantic high jinks at a school conference; and a fantasy sparked by F/X pioneer Georges Méliès.
Thick Skinned
6.8/10
Two brothers set fire to a barn while drunk, inadvertently causing the death of a sleeping wanderer. One of them takes all the blame for the incident and spends ten years in prison.
Le Meilleur de la Vie
5.1/10
Tenir la distance
It is with Yann Dedet, the great French film editor known for his work with Truffaut and Pialat that the Belgian Joachim Lafosse has chosen to edit his fifth film, L’Économie du couple (After Love), the chronicle of a divorce and its emotional and economic repercussions on the couple and their children. The film shows that the interaction, sometimes fluid and sometimes tense, between two collaborators depends on an “economy of the couple”, whose intimacy is bared to the outside world when the critical step of a first screening for the producers arrives.
