Nicholas Zourabichvili

악한이 등장하는 절제된 버디 코미디. 사형당한 프랑스 귀족의 두개골과 막연하게 연관된 두 오래된 친구가 겪는 도시 모험담을 그리는 는 전형적으로 불손한 이오셀리아니식의 짧은 여행으로, 클래식한 파리 아파트촌을 배경으로 하여 과거와 현재 그리고 미래를 응시한다. (2015년 제20회 부산국제영화제)

When he loses his position as a powerful government minister, Vincent is dropped by his pretty mistress and must begin life anew, without the privileges of power. As he gradually becomes acquainted with milieus which he d either forgotten or never known and a host of sometimes eccentric, often remarkable everyday people, Vincent really begins to start living again.

Nicholas is the eldest son of a wealthy suburban family, whose businesswoman mother makes deals from a helicopter and has an affair with her business partner. His cheerful, alcoholic father, on the other hand, is reduced to a prisoner in his room with his devoted dog and electric train set. Unbeknownst to his parents, Nicholas works as a window cleaner and dish washer in a Parisian cafe. He is also in love with the daughter of another cafe's owner, who, however, has an abusive boyfriend. One night, Nicholas sneaks a few drunken drifters into his family wine cellar and his father unexpectedly takes a liking to the stranger.

Châtelaine Marie-Agnès de Bayonnette lives in her family home with her cousin Solange. The lives of the two old ladies are governed by the traditional codes of aristocracy. When Marie-Agnès died, the heirs from Russia had to fight over the estate with a Japanese company that wanted to buy the property.

Events in an idyllic African village are shown in detail in the period just before logging trucks come in and cut down the forest around the villagers, forcing them to move into the wretched shantytowns that surround major cities throughout the undeveloped world. Despite the familiar premise, this surprisingly unsentimental film by Georgian director Otar Ioselliani has several things going for it, beginning with the cinematography and including the natural and unaffected (non-professional) performances of the villagers.

It is a brief documentary which records the life of five Augustinian monks in the little monastery of Castelnuovo dell'Abate, a Tuscan village, as well as the everyday life of people in the small town, from farmers to meat-hackers, from wine-makers to wild boar hunters.

The story revolves around two objects, a rare set of 18th-century Limoges china, and a 19th century aristocratic portrait. As these items are passed, sold, or stolen from one character to another, a giddy round dance of excess begins to take shape, one which suggests that if history doesn't repeat itself, it certainly rhymes. Together with co-writer Gérard Brach, whose other co-writing credits include Repulsion and Tess, Otar Iosseliani uses a feather-light touch to expose the futility of class and social order, making a bagatelle of the concerns of rich and poor alike.