Anouk Zivy

Nine years ago, they lived a brief love affair. Now, a chance meeting has them reunite in a train station, in-between two journeys. He is arriving, she is leaving. They have eighty minutes to re-evaluate their lives, face to face with their truths, regrets and memories. This is their last chance.

To be in Venice and see the architecture of New York, to perceive in a painting by Tintoretto the birth of animated images, to look at the burlesque Cretinetti as the ancestor of montage - so many shifts, displacements, and striking telescopings that Philippe-Alain Michaud proposes in this film dedicated to him. To follow this art historian, curator of the cinema collections at the Centre Pompidou, is to go from the oriental carpet to the film, or from the first fireworks to the cinema. And everywhere the animation of the images - projections of Antony McCall, or of Paul Sharits, Column without end of Brancusi, Pasolini's Accatone - everything moves! Under the tutelage of Aby Warburg, the great art historian of the early twentieth century, precursor of iconology and image comparison, to whom Philippe-Alain Michaud was the first in France to devote an important essay, eleven images are placed on the table to describe the singular journey of this art historian.

Claire, eleven years, carries with it a big secret. But neither her daddy nor anybody else will ever know. Except perhaps Eric, playing her boyfriend, who is not afraid of Uncle Etienne.

"At first everything was relatively simple. I was looking for a boy of African origins, between 16 and 18 years old to incarnate the role of Alberto in the film I had just written. As they were not actors, I asked candidates to tell me a story of their choice. What they gave me was a lot of life, and they did it with such generosity and authenticity that I was the one concerned. Would I be able to find the same strength, the same emotion?" - Inês de Medeiros

Safi, a young girl who took over from her father at the head of the family business, directs her activities towards long-term investment. But her project is compromised because of the allocation of developed areas.

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。

The name of painter Jean-Honore Fragonard (1732-1806) is synonymous for a kind of painting style which celebrates carefree romantic life, indoors and out. He was a painter during the final decades of the French monarchy. In this story, he and his brother Cyprien (Robin Renucci), who is an early pioneer in medical anatomy (he dissected corpses and made drawings of what he found in them), have fallen in love with the same woman, Marianne (Philippine Leroy-Beaulieu), a laundress. This attraction has not escaped the notice of Salmon d'Anglas (Sami Frey), a conniving nobleman, who has his heart set on getting revenge on Jean-Honore (Joachim de Almeida) for refusing his patronage and becoming the darling of the French court.