Pascal Catheland

There is a film and its director, technicians, actors and their characters. Paul Vecchiali is telling the love story between Benoît and La Martine. The reality of the shooting becomes the pretext for a game with cinema itself, where the limits of the frame are increasingly permeable.

There is a film and its director, technicians, actors and their characters. Paul Vecchiali is telling the love story between Benoît and La Martine. The reality of the shooting becomes the pretext for a game with cinema itself, where the limits of the frame are increasingly permeable.

There is a film and its director, technicians, actors and their characters. Paul Vecchiali is telling the love story between Benoît and La Martine. The reality of the shooting becomes the pretext for a game with cinema itself, where the limits of the frame are increasingly permeable.

There is a film and its director, technicians, actors and their characters. Paul Vecchiali is telling the love story between Benoît and La Martine. The reality of the shooting becomes the pretext for a game with cinema itself, where the limits of the frame are increasingly permeable.

There is a film and its director, technicians, actors and their characters. Paul Vecchiali is telling the love story between Benoît and La Martine. The reality of the shooting becomes the pretext for a game with cinema itself, where the limits of the frame are increasingly permeable.