Les Films du Carrosse étaient une société de production cinématographique française, à responsabilité limitée, au capital de 1 million de francs, créée en juillet 1957 par François Truffaut avec le soutien de Marcel Berbert et d'Ignace Morgenstern. Le nom de la société est un hommage de Truffaut à Jean Renoir, faisant allusion au film Le Carrosse d'or de ce dernier. Les Films du Carrosse ont produit la plupart des films réalisés par François Truffaut et par plusieurs autres réalisateurs (Claude de Givray, Robert Lachenay, etc).
Les locaux étaient situés au 177, rue d'Alésia dans le 14ème arrondissement de Paris, puis au n 5 rue Robert-Estienne dans le 8ème arrondissement de Paris.
La société a été radiée du registre du commerce et des sociétés le 7 février 2000.
Jacques Massoulier is murdered while hunting at the same place as Julien Vercel (Jean-Louis Trintignant), an estate agent who knew him and whose fingerprints are found on Massoulier's car. As the police discover that Marie-Christine Vercel (Caroline Sihol), Julien's wife, was Massoulier's mistress, Julien is the prime suspect. But his secretary, Barbara Becker (Fanny Ardant), while not quite convinced he is innocent, defends him and leads her private investigations.
Sabine, a student in art history, is growing tired of the part of the mistress of a painter and family man, Simon. She meets Edmond, beautiful, young, rich and free, and declares that she is going to marry him.
Bernard Coudray lives with his wife and young son in a remote country house near to Grenoble. One day, a married couple, Philippe and Mathilde Bauchard, move into the house next door. Mathilde and Bernard were lovers, many years before, and are equally surprised at the unexpected reunion. Initially, Bernard avoids Mathilde, but a chance meeting in a supermarket reawakens a long-buried passion and they are soon having an affair. Unfortunately, neither of them seems capable of controlling the emotional whirlwind which this unleashes.
Set during the German occupation of Paris during the Second World War, it tells the story of Lucas Steiner, a Jewish theatre director and his Gentile wife, Marion Steiner, who struggles to keep him concealed from the Nazis in their theatre cellar while she performs both his former job as the director and hers as an actress.
In the previous Antoine Doinel film, Bed and Board, the marriage between Antoine (Jean-Pierre Léaud) and Christine (Claude Jade) had survived Antoine's infidelity.
The action takes place ten years after the end of World War I in a small town in France. The protagonist, Julien Davenne, is a war veteran who works as an editor at the newspaper, "The Globe". He specializes in funeral announcements ("a virtuoso of the obituary", as defined by its editor-in- chief) and the thought of death haunts him. Davenne has reserved a room for the worship of his wife, Julie, on the upper floor of the house he shares with his elderly housekeeper, Mrs. Rambaud, and Georges, a deaf-mute boy. His wife had died eleven years prior, at the height of her beauty.
In 1863, the American Civil War is still raging and Great Britain and France have yet to enter into the conflict. For the past year British troops have been stationed in Halifax, Nova Scotia, carefully checking European passengers disembarking from foreign ships. The beautiful Adèle Hugo (Isabelle Adjani), the second daughter of Victor Hugo, makes it through and takes a carriage into Halifax. Traveling under the assumed name of Miss Lewly, Adèle finds accommodations at a boarding house run by Mr. and Mrs. Saunders.
Day for Night chronicles the production of Je Vous Présente Paméla (Meet Pamela, also referred to as I want you to meet Pamela), a clichéd melodrama starring aging screen icon, Alexandre (Jean-Pierre Aumont), former diva Séverine (Valentina Cortese), young heart-throb Alphonse (Jean-Pierre Léaud) and a British actress, Julie Baker (Jacqueline Bisset) who is recovering from both a nervous breakdown and the controversy leading to her marriage with her much older doctor.
Stanislas Previne is a young sociologist, preparing a thesis on criminal women. He meets Camille Bliss in prison to interview her. Camille is accused of having murdered her lover Arthur and her father. She tells Stanislas about her life and her love affairs.
The fourth installment in François Truffaut’s chronicle of the ardent, anachronistic Antoine Doinel, Bed and Board plunges his hapless creation once again into crisis. Expecting his first child and still struggling to find steady employment, Doinel (Jean-Pierre Léaud) involves himself in a relationship with a beautiful Japanese woman that threatens to destroy his marriage. Lightly comic, with a touch of the burlesque, Bed and Board is a bittersweet look at the travails of young married life and the fine line between adolescence and adulthood.
Louis Mahé (Jean-Paul Belmondo), a wealthy tobacco plantation owner on Réunion island in the Indian Ocean, is awaiting the arrival of his bride to be, Julie Roussel (Catherine Deneuve), whom he's never met. They became acquainted through the personals column of a French newspaper and have been corresponding by mail. At the Hotel Mascarin he meets his partner Jardine who accompanies him to pick up the ring. Louis drives to the dock to greet Julie who is arriving on the steamer Mississipi (spelled with one p according to the French spelling of the river at the time)from Nouméa, the capital of New Caledonia. When they meet he is surprised by her beauty and does not recognize her; she is not the woman in the photo she'd sent him. She explains that she sent the photo of a neighbor to assure the sincerity of his intentions. He confesses that he too has not told the complete truth, having hidden the fact that he was wealthy.
There are many continuations from The 400 Blows; discharged from the army as unfit, Antoine Doinel seeks out his sweetheart, violinist Christine Darbon. He has written to her voluminously (but, she says, not always nicely) while in the military. Their relationship is tentative and unresolved. Christine is away skiing with friends when Antoine arrives, and her parents must entertain him themselves, though glad to see him. After she learns that Antoine has returned from military service, Christine goes to greet him at his new job as a hotel night clerk. It is a promising sign that perhaps this time, the romance will turn out happily for Antoine. He is, however, quickly fired from the hotel job. Counting the army, Antoine loses three jobs in the film, and is clearly destined to lose a fourth, all symbolic of his general difficulty with finding his identity and "fitting in".
As the film opens, Julie Kohler (Jeanne Moreau) tries to throw herself out of an upstairs window, but is stopped by her mother (Luce Fabiole). Julie is dressed in black and is obviously grief-stricken. In the next scene, she is more composed, telling her mother she is going on a long trip, and counting out five piles of money. She gets onto a train, but right afterwards steps down on the opposite side, hidden from onlookers.
The film does not tell a story so much as present an essay-like study of Godard's view of contemporary life; Godard wrote that "I wanted to include everything: sports, politics, even groceries. Everything should be put in a film". Godard himself narrates the film in a whispered voice-over that discusses his fears to the audience about the contemporary world, including the Vietnam War. The film often cuts to various still shots of bright consumer products and ongoing construction.