Mathieu Busson

Is it more difficult for a woman to direct a movie? To finance it? To be respected by her team? Does she have a different way of looking at the world? Does cinema have a gender? In our two previous documentaries, we had already asked these very contemporary questions to 20 female and 20 male directors in France. But we have been eager ever since to expand the borders of our work, to question women filmmakers around the world. That is what this film has achieved, from Asia to Africa and Europe… All the women we met were funny, sincere, committed, concerned, and all looking for the best possible way to exist in an environment always governed by men. All FilmmakErs and living witnesses of the dysfunctions that still exist in the film industry.

Is there such a thing as strictly feminine cinema? Is it more difficult for a woman than for a man to direct a film? Is gender parity necessary in the industry? Actress and producer Julie GAYET and actor and director Mathieu BUSSON ask these questions to twenty French woman filmmakers, who face a camera together for the first time. After over an hour of lively, informal, spontaneous and funny interviews, it becomes obvious that these issues are still problematic and definitely worthy of a documentary. As Mia HANSEN-LØVE remarks, “In the eyes of the people, a woman’s film is always a woman’s film, while a man’s movie is simply… a movie”.

A mother of two mysteriously disappears one morning. Her husband isn't worried as they've had rough patches; his wife just wanted to give him a scare and will come home soon. But her lover is convinced she has been murdered by her husband.

1934. Philippe falls in love with Odile, a beautiful stranger, and decides to marry her, against the will of his parents. They would have preferred a more bourgeois bride, ideally from their own milieu: the paper industry in Angoulême. Isabelle, for instance, whom they have known since she was a child, would have been the perfect match. But Philippe sticks to his choice and marries Odile. At first the newly-weds are passionately in love, and the whole family looks forward to the birth of an heir for the Marcenat family. But in vain. Instead, Odile neglects her marriage and devotes herself to drawing, a gift she inherited from her father. Or is her rekindled interest in art classes more the result of her encounter with the charming but mysterious artist François Crozant? Philippe sense that he's losing his wife and becomes madly jealous of François. Meanwhile Isabelle, who's secretly in love with Philippe, is just waiting for the right moment.

Elsa makes a living from little jobs, struggling to gain custody of his son. Mathieu, who lives next door, also keeps getting job interviews only to polish his art of failure. Their situation is increasingly precarious, but both are trying to bounce back in a world that seems not to fit them.

かつてCIA工作員として政府の影の仕事を行っていたブライアンだが、退職し今はアメリカで危険の無い仕事をしながら離婚した妻との間にできた愛娘キムに会ったりして日々を平和に過ごしていた。 ある日キムは友人と二人だけでパリ旅行をしたいとブライアンにせがむ。子供達だけで危険な海外旅行に行く事は当然許しがたい事であったが、悲しむキムについつい旅行を許してしまう。 パリについたキムたちは、空港で外国旅行者を狙う犯罪グループに目をつけらていたのだった。宿泊先で父と電話中だったキムは友人が大胆にも室内で誘拐される様を目撃してしまう。 父の咄嗟の指示により犯行一味の手がかりを話ながらキムも無情に連れ去られてしまう。取り残された携帯電話に犯人が出た気配に気付き、ブライアンは呼びかける。 「私には長年にわたって培った特殊なスキルがある。娘を返せ。さもなければお前を探し出し、殺す」 犯人は電話を切るがそこから得られた本当に僅かな手がかりを辿ってブライアンの娘を取り戻す孤独な強行作戦が始まる。

An unlikely friendship develops between a hitman and a suicidal guy who have both checked into the same hotel for different reasons.

Four hardened crooks break out of prison. Hunted down, with nowhere to run, they seek refuge in the only place the police cannot follow, a Cistercian monastery. Cut off from the outside world, a nightmare stand off develops between the fugitives, ready to kill in defence of their dearly purchased freedom, and the monks they' re holding hostage. But in this potentially lethal confrontation, nothing is quite as it seems. The game' s been rigged from the start. Requiem' s a violent and fast paced French film that really delivers.

September, 1986. Alice and Martin are 17 years old. They come from provinces to Montesquieu high school in the capital. Like many youngs of their age, born in the 70s and nostalgic of a too comfortable childhood, they progress carefully in life. While Alice and Martin are finding their footing, demonstrations against the Devaquet law and the tragic death of Malik Oussekine are happening.

A teen party gone out of control provides the focus of this drama which explores the transitions of youth in a transitional time set in the post-disco, pre-punk, early 1980's. Ariane, a teenager, is rebelling against her father and her boyfriend Pierre. She decides to hold a small party. The party is crashed by a large crowd of rude outsiders who proceed to destroy her home. Afterward, Ariane must face her obsessive neatness.

前編「ジャンヌ／愛と自由の天使」に続く後編。ジャンヌ・ダルクの活躍により王座に就いたシャルル。彼女は尚も祖国のため戦いを続けるが、やがて貴族たちの不満を買い、教会による不当な裁判によって火あぶりの刑に処せられ、その波乱に満ちた壮絶な生涯を閉じる。製作費に４６０万ドルをかけ、壮大なスケールで歴史的事実を史実に忠実に描いた本作は、アカデミー特別賞、撮影賞、衣装デザイン賞を受賞した。

「彼女たちの舞台」などで知られるヌーヴェル・バーグのＪ・リヴェットが、１５世紀フランスに実在した非運の英雄、ジャンヌ・ダルクの波乱に満ちた生涯を、前編の本作と、後半の「ジャンヌ／薔薇の十字架」の全編約四時間に及ぶスケールで描いた超大作。本編では神の啓示により、自らが王国を救う使命を帯びた存在であることを知った彼女が、王太子シャルルの信頼の下、オルレアンを解放するまでを描く。 　尚、本編はオリジナルより約一時間短い二時間の短縮バージョンである。真の完全版は「ジャンヌ・ダルク／I戦闘　II牢獄」としてこの後に公開されている。