A "parody of the old New Wave crime eroticism movies" (The New York Times), Trans-Europ-Express is a self- referential, neo-noir thriller, with heavy doses of sado-masochism, from the mind of Alain Robbe-Grillet (Last year at Marienbad). On the train from Paris to Antwerp, a director (Robbe-Grillet) and his production team hash out the plot of a crime movie. Their story is enacted by Jean Louis-Trintignant (Amour), who plays Elias, a cocaine smuggler...

Believing they have left behind shadowy figures from their past, newlyweds Christian and Ana fully embrace an inextricable connection and shared life of luxury. But just as she steps into her role as Mrs. Grey and he relaxes into an unfamiliar stability, new threats could jeopardize their happy ending before it even begins.

A sheriff is on the case to solve a string of murders in his small town, knowing that he is the killer.

Lee Holloway has a few strikes against her when she applies for a secretarial position at the law office of E. Edward Grey. At first the work seems quite normal, but soon, in between typing, filing and coffee making, Lee and Mr. Grey embark on a more personal relationship together, crossing the lines of conduct that would give any human resourses director the vapors.

In the titles, Pasolini informs viewers that it is "1944-45 nell' Italia Settentrionale durante l'occupazione nazifascista [in Northern Italy during the Nazi-Fascist occupation]." That, along with the "Bibliografia essenziale" that precedes it, indicates that a political meaning, dealing with the corruption of absolute power, was uppermost in the filmmakers mind. Motives aside, Pasolini's interpretation of the Marquis de Sade's eighteenth century...