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.
Le pharmacien
1시간 30분의 답답한 출근길과 단조로운 공장 업무, 그리고 집으로의 퇴근. 뱅상에게 매주 월요일 아침은 지리한 일상이 시작되는 고달픈 시간이다. 화가가 되고 싶은 그의 꿈은 가족에 대한 책임감으로 짓눌린다. 그가 사는 동네 역시 지루하기는 마찬가지다. 마을 사람들은 그저 세월이 흘러가기만 바랄 뿐이다. 다가오는 월요일 아침을 감당할 수 없는 뱅상은 새로운 세상을 꿈꾸며 베니스로 향한다. 그는 과연 자신이 잊고 있었던 무언가를 찾을 수 있을까? ▶ 52회 베를린영화제 감독상▶ 7회 부산국제영화제 월드 시네마
serveur
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.
Monsieur Capentier
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.
Policier
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.
