Cinematography
On line 6 of the Paris metro, travelers flock. A violinist settles at the foot of a staircase and begins to play in general indifference. He continues to play in a train, without more success, and two days later, in a packed concert hall.
Director of Photography
What on earth would extraterrestrials think if they could observe us? This is the movie they made.
Director of Photography
Mélanie Prouvost, a ten-year-old butcher's daughter, is a gifted pianist. That is why she and her parents decide that she sit for the Conservatory entrance exam. Although Mélanie is very likely to be admitted, she unfortunately gets distracted by the president of the jury's offhand attitude and she fails. Ten years later, Mélanie becomes her page turner, waiting patiently for her revenge.
Director of Photography
Lise is a Parisian prostitute who has a young son, Sebastien. Lise dotes on her boy, who has a gift for music and sings in a children's choir directed by aging parish priest Father Andre. Sebastien becomes involved in an auto accident that sends him into a coma; after he remains unconscious for three months, Lise begins to panic, desperate for a remedy that medical science can't provide. When she is told of a field in a village in rural France where a miracle is said to have occurred some years before -- an apparition of the Virgin Mary arrived to provide food for a group of starving children -- Lise wants to travel to the site of the miracle to pray for her son. She also insists that Father Andre come along, but the priest is not eager to go, due to his age, his health, and his increasing cynicism about religion. Lise is persistent, however, and before long the two are on the road in search of a much-needed miracle.
Cinematography
Late in the 1980s it seems like the Lebanese conflict will never end. Khalil returns to Beirut after many years. Ten years earlier, during a battle, he took advantage of the confusion and pretended he was dead.
Cinematography
A small company valiantly struggles to survive under the respectful yet probing camera of Claire Simon in “At All Costs.” As the docu opens, founder and manager Jihad is off to see his banker. The lack of ready cash to pay his loyal employees, wholesale produce providers and a whole range of other creditors, including the tax-gobbling French government, is omnipresent. From a staff of 14, Jihad is down to three cooks, one delivery driver and a secretary in less than six months. The good-natured pluck of the remaining employees is at the heart of the film. Subterfuges for putting up a brave united front include scheduling food orders from a coin-operated pay phone when the office phone is cut off for nonpayment.
