Sainte-Rita, Paris

Place Blanche in Paris, France is one of the small plazas along the Boulevard de Clichy, which runs between the 9th and 18th arrondissements (Parisian districts) and leads into Montmartre. It is near Pigalle. On 23 May 1871, during the Bloody Week at the end of the Paris Commune, when Versailles troops entered Paris to retake it for the French Third Republic, the Place Blanche was defended by 120 communard women. Among them were Béatrix Excoffon, Elisabeth Dmitrieff, Nathalie Lemel, Blanche Lefebvre, and Malvina Poulain. They held back General Clinchant's troops at a barricade before retreating, exhausted and out of ammunition, to Place Pigalle. Those who could not retreat were executed on the spot, among them Blanche Lefebvre.The famous cabaret Moulin Rouge stands on the Place Blanche. During the 1950s, the Place Blanche was a centre of Paris' transsexual community, documented in Christer Strömholm's book Les amies de Place Blanche.

Moulin Rouge (, French: [mulɛ̃ ʁuʒ]; lit. '"Red Mill"') is a cabaret in Paris, France. The original house, which burned down in 1915, was co-founded in 1889 by Charles Zidler and Joseph Oller, who also owned the Paris Olympia. Close to Montmartre in the Paris district of Pigalle on Boulevard de Clichy in the 18th arrondissement, it is marked by the red windmill on its roof. The closest métro station is Blanche. Moulin Rouge is best known as the birthplace of the modern form of the can-can dance. Originally introduced as a seductive dance by the courtesans who operated from the site, the can-can dance revue evolved into a form of entertainment of its own and led to the introduction of cabarets across Europe. Today, the Moulin Rouge is a tourist attraction, offering musical dance entertainment for visitors from around the world. The club's decor still contains much of the romance of fin de siècle France.

The Lycée Jules-Ferry is a public secondary and higher education school located in the 9th arrondissement of Paris. It is famous especially since it was used in Diane Kurys's film, Peppermint Soda (Diabolo menthe, 1977). This public school of Paris is composed by a collège, a lycée and by CPGE. Since its creation, this high school had a tradition with literary studies. There are literary and humanities Classes préparatoires aux grandes écoles, for students that are preparing the very competitive national exams that lead to the prestigious École Normale Supérieure de Lyon academy.

Cabaret de l'Enfer (The Cabaret of Hell) was a famous cabaret in Montmartre, founded in November 1892 by Antonin Alexander and demolished in 1950 to allow for the expansion of a Monoprix supermarket. The Cabaret de L'Enfer was the counterpart to The Cabaret du Ciel (The Cabaret of Sky), another cabaret which shared the same address on the Boulevard de Clichy. Antonin Alexander was the creator, director, and host of the twin ventures. Jules Claretie, who wrote that future historians of the mores of the Belle Epoque "could not silently pass by these cabarets", described them as "putting Dante's poem within walking distance". For Georges Renault and Henri Château, "Le Ciel and L'Enfer, gaping wide-open all in a row" was worthy of the label "spectacular". The flâneurs of Paris entered through the monumental jaws of Leviathan, devourer of the damned. The intimidating façade was "a stucco ode to female nudity being devoured by infernal flames".

The Cabaret du Ciel (Cabaret of Heaven) was a well-known cabaret in the Montmartre district of Paris. The Cabaret du Ciel was an early version of modern theme restaurants, with a theme centered around celestial concepts connected to the afterlife in Paradise. The cabaret was located next to the Cabaret de L'Enfer (Cabaret of Hell) at the same address at 53 Boulevard de Clichy.The Cabaret du Ciel, along with the Cabaret de L'Enfer (Cabaret of Hell), and the Cabaret du Néant (Cabaret of Nothingness), was part of a trio of themed restaurants established at around the same time in Montmartre in the 1890s. The Cabaret du Ciel and the Cabaret de L'Enfer took advantage of their proximity and enhanced it further by taking radically different approaches on their exterior design, which led prospective patrons to want to visit both during an outing.

Blanche (French pronunciation: [blɑ̃ʃ] (listen)) is a station on Paris Métro Line 2, on the border of the 9th and the 18th arrondissements.

Museum of Eroticism (French: Musée de l'érotisme) was a sex museum in Paris devoted to the erotic art collections of antique dealer Alain Plumey and French teacher Jo Khalifa. It closed its doors on November 7th, 2016. Founded in 1997, the museum was situated in the Pigalle district of Paris, at 72 Boulevard de Clichy. The collection ranged from the ancient religious art of India, Japan and Africa right up to contemporary art with an erotic focus. There were five floors, including a basement exhibition. One floor was devoted to maisons closes, the legal brothels of the 19th and early 20th century. The film Polisson et galipettes was shown; it is a collection of pornographic shorts formerly exhibited in the maisons closes. The upper two floors had revolving exhibitions, mainly of contemporary artists. It was visited by the main character in the novel Merde Actually, the sequel to A Year in the Merde.In 2013, erotic artist Namio Harukawa exhibited "Garden of Domina" at the museum, which featured art of dominatrixes facesitting on submissive males.

The Café des 2 Moulins (French for "Two Windmills") is a café in the Montmartre area of Paris, located at the junction of Rue Lepic and Rue Cauchois (the address is 15, rue Lepic, 75018 Paris). It takes its name from the two nearby historical windmills, Moulin Rouge and Moulin de la Galette. The interior consists of a bar area and multiple small tables. The café has gained considerable fame since its appearance in the 2001 film Amélie, in which it is the workplace of the title character. It has since become a popular tourist destination. Another location from the film, the convenience store of Collignon, is located nearby, on the rue des Trois-Frères. The tobacco counter, tended in the film by Georgette (Isabelle Nanty), was removed in 2002 when the cafe changed ownership.The cafe was listed in the Registre du commerce et des sociétés in 1964. According to Marc Fougedoire, the current owner, the establishment opened its doors at the beginning of the 20th century, but did not take its current name until the 1950s. It had already been used for two other films before it was in Amélie.

The Boulevard de Clichy (French pronunciation: ​[bulvaʁ də kliʃi]) is a famous street of Paris, which lends its name to the Place de Clichy, resulted from the fusion, in 1864, of the roads that paralleled the Wall of the Farmers-General, both inside and out. It extends from the Place de Clichy to the Rue des Martyrs, nearly a kilometre away. During its tenure, the street has been known as the Boulevard des Martyrs, then the Boulevard Pigalle, and, finally, the Boulevard de Clichy. It is equally well known as the Boulevard Clichy.

Maison Souquet is a 5-star hotel, part of Maisons Particulieres Collection (hotel group), located at 10, rue de Bruxelles in Paris, on the outskirts of Montmartre. The hotel is inspired by the Parisian brothels from the Belle Époque period. Maison Souquet is decorated by the French designer Jacques Garcia.

Le Théâtre du Grand-Guignol (French pronunciation: ​[ɡʁɑ̃ ɡiɲɔl]: "The Theatre of the Great Puppet") – known as the Grand Guignol – was a theatre in the Pigalle district of Paris (at 20 bis, rue Chaptal). From its opening in 1897 until its closing in 1962, it specialised in naturalistic horror shows. Its name is often used as a general term for graphic, amoral horror entertainment, a genre popular from Elizabethan and Jacobean theatre (for instance Shakespeare's Titus Andronicus, and Webster's The Duchess of Malfi and The White Devil), to today's splatter films.

Cabaret des Quat'z'Arts ("cabaret of the four arts") was a venue at 62 Boulevard de Clichy, in Paris, France. The interdisciplinary mixture of the arts created avant-garde collaborative performances. Similar to Le Chat Noir, the Quat'z'Arts was a gathering place for artists, composers, musicians, performers, poets, illustrators, and theater critics, attracting newcomers such as Pablo Picasso and Apollinaire. It provided space for permanent and temporary art exhibits by the likes of Emile Cohl, Jules-Alexandre Grün, Charles Léandre, Georges Redon, Lucien-Victor Guirand de Scévola, Henri de Toulouse-Lautrec, Louis Abel-Truchet, and Adolphe Willette.