Anne-Louise Trividic

Marion se enfrenta a París por la noche con un sentimiento de vulnerabilidad relacionado con la pérdida de su hermana. Se cruza con Alex. Su encuentro evolucionará al ritmo de sus paseos sin rumbo por la ciudad, como un viaje a través de la noche.

A Flower in the Mouth is a film diptych about time running out and how to live through the days that remain. The first act, filmed as an observational documentary in the world’s largest flower market, follows millions of bouquets transiting through a cavernous refrigerated hangar to be sold at auction, an industrial process at once both beautiful and terrifying. The film transitions to fiction in a second act freely adapted from a Pirandello play. A man with a flower-shaped tumour on his lip accosts a traveller in an all-night café. Their seemingly mundane conversation becomes a metaphysical monologue as the man, feeling death approach, clings to life by scrupulously observing its activity, watching reality in every detail, as if to fill the gap between himself and the rest of the world.

Mavie is 27 years old and has just moved to the French capital from the provinces. She dreams of a future as a writer but is plagued by doubt and uncertainty. 76-year-old misanthrope Georges runs a bookshop in Paris – or has he merely been forced to take refuge there to escape his past? These are two peculiar creatures indeed. Georges is cynical and no longer expects much from life, while Mavie is still brimming with expectation. Yet something magical happens between them, until Georges' dark secret suddenly catches up with him – and Mavie is caught up in something very different...

Gaby mustn’t be left alone at night. Yet that’s exactly what her boyfriend Vincent does, to test her love for him. She struggles against her natural instincts and quickly exhausts the patience of the local guys. But Gaby decides to turn to castle warden Nicolas, an expert in loneliness, for help.

Melody, 28 years old, a confused child born under the name X, decides to rent out her body in order to get the money she needs to realize her dream: opening a hair-dressing salon. To do so, she accepts to carry the child of Emily, a rich English woman 48 years old who can no longer have children. To make sure everything goes well and keep an eye on her future child, Emily decides to welcome Melody into her home and stay by her side throughout the pregnancy. Although they first appear to come from completely different worlds, the two women end up adopting each other: Melody finds in Emily the mother she never had, and Emily sees in Melody the daughter she always wanted to have. Evidently, the bonds that emerge during this double maternity create all sorts of doubts and questions.

Abandonado en su nacimiento a las puertas del Convento de los Capuchinos, Ambrosio (Vincent Cassel) es educado por los Hermanos. Se convierte en un predicador admirado por su fervor y temido por su intransigencia, él se cree protegido y libre de toda tentación. La llegada de un misterioso novicio removerá sus certezas y le llevará por el camino del pecado.

Sonia (Gainsbourg) y Daniel (Duris) mantienen una tormentosa relación; por eso, cuando un tipo se cuela en casa de Daniel con la intención de quedarse, Daniel da por supuesto que es cosa de Sonia. Sin embargo, tras la ruptura de la pareja, el nuevo inquilino permanece en la casa impertérrito, lo que crea un atmósfera tensa y llena de incógnitas.

In 1988, after much cunning political maneuvering, Loïk Le Floch-Prigent and Alfred Sirven become the chief executives at Elf. They discover a company that runs on kickbacks: in exchange for the oil rights, Elf makes handsome but discreet payoffs to the leaders of African nations. With the tacit complicity of President Mitterrand, and with eventual political and personal interests in mind, the new management takes charge of the slush fund. Within months, Sirven, Le Floch-Prigent and his wife Fatima Belaïd fill their pockets with more than they could ever have imagined.

Twenty-year-old Eugène is somewhat aimless and has not been doing well in university. He is staying in a small village for the summer. He awkwardly seduces Pierre, a slightly older man who is working for Mathilde as caretaker for the season. Pierre is initially open to the relationship, but quickly becomes reluctant to become too involved.

El amor de Gabrielle y Martin se ve obstaculizado porque quienes los rodean los consideran distintos a los demás. Retrato de la lucha de una joven por conseguir su libertad sexual y su independencia.

Thomas (Todeschini) se está muriendo y lo acepta con serenidad. Pero quiere esperar la muerte en la casa de la costa donde pasó su infancia. A su hermano Luc (Eric Caravaca), que lo acompaña, la dramática situación lo lleva a examinar su propia vida. (FILMAFFINITY)

Una tarde, Fanette se encuentra con Bernard, un antiguo compañero de estudios. Durante la conversación, se nombra a Philippe, el primer amor de Fanette. El recuerdo de Philippe la lleva una vez más a la sala de cine donde proyectan "An affair to remember": Cary Grant y Deborah Kerr se reencuentran finalmente, tras haberse citado en lo alto del Empire State y nunca haberse producido dicho encuentro. Fanette está escribiendo un libro sobre el pintor François Arnal y tiene que ir a Nueva York para fotografiar dos cuadros suyos. Antes de su viaje, recibe una carta en la que se fija una cita en lo alto del Empire State. Cuando llega a Nueva York conoce a Matt, un americano encantador que se siente atraído por ella, pero Fanette, obsesionada por la cita, ni siquiera repara en él.

Una pareja de desconocidos mantiene encuentros furtivos de carácter puramente sexual. Ella va a verlo los miércoles por la tarde y sólo quiere sexo. Apenas hablan ni se hacen preguntas. Ninguno sabe nada del otro. Llega un momento en que ella ya no sube a la casa, sino que baja directamente al sótano sin amueblar, donde él ha cubierto el suelo de mantas y edredones. Pero, de repente, el hombre siente curiosidad por conocer la vida de ella.

Disgusted by life and uninterested in earthly subjects, Lovecraft intentionally avoided reality when writing, veering into the unknown and inspiring the fear that lurks in nightmares. But, how do you portray the indefinable mythology that gave birth to Dragon, or the mysterious Cthulhu, or the uniquely strange Necronomicon? Directors Patrick Mario Bernard and Pierre Trividic asked themselves this question before responding with this unorthodox documentary that re-creates the atmosphere of claustrophobia, anxiety, and madness of Lovecraft s life and work.

Ten young people ( boys and girls) at the age at which all is possible. They meet, they love, they choose. The film comes and goes between all those people, revealing their anguish, their dreams, depicting the portrait of a generation of the '90s which has both the fury and the fear of life.