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1-23 of 23
- Marc Châtaigne, a trainee at the Ministry of the Standrard, is sent to French Guyana to prepare the construction of Guyaneige, the first indoor ski station of Amazonia.
- A small South American village is in a flurry over the Pope's 1988 visit.
- Louis is ready to take care of Vincent, and asks Marie to manage by herself, but forgets that for her, this has other connotations
- Sabrinette, victim of the recession, is looking for an apartment. A tough mission if you're a temp worker, or young, or you've got bad hair.Fortunately, a Monopoly board game might give her a serious help.
- Lucile Chaufour's LOVE and CRASHES takes us for an unforgettable ride in partnership. With a mixture of fictional and documentary techniques, the film immerses us in the universe of sidecar racing, paying attention to the peculiarities of a vehicle driven by a magical alliance between pilot and passenger (or as it is known in sidecar jargon, 'monkey'). Aided by a dreamy musical score and Hélène Louvart's deft cinematography, LOVE and CRASHES explores technique and sensuality, control and spontaneity, the physical and the mental, speed and care.
- Trees, the sea, megaliths, an iron bridge, a female figure, filmed in the first and last hours of the day. Silenio questions the elementary figures of cinema and the world.
- Mr. Morimoto is a japanese exiled to Paris since he is retired. He came to make his old dream come true: to lead the bohemian life of a Parnassian painter. One day, this dharma bum, who could never learn the Molière's language, is out on the street with his last picture. And he loses it on the way. He wanders in Belleville like a stray cat, looking for his picture. He meets drifting beings, "definitive dreamers", forever in search of love, like himself.
- It is summertime but not holiday time for Jeannot, a mechanic in a small garage. Indeed, as his employer enjoys repeating sarcastically, he has already used all his days off for the year. To make matters worse, all his friends are away on vacation. But you can take advantage of any situation after all, bad as they are. And Jeannot will not deny himself a good time or two. Strolling down the Paris streets basking in the sun, Jeannot starts discovering Paris ... and himself at the same time.
- Antoine and his father are in the road by night. It could have been a holiday road till a man crossed their way.
- "This? Is this what you think? You guys are all the same! When Harvey puts his "thing" into my mouth, he is submitting to me, he gives me the power, he makes it because he loves me, do you understand that? You, you need another example" Valeriane, a young woman in search of love.
- In the beginning: pale gray, blurry target. It's an announcement. Of a war? No. More complex. Of a division. Between yesterday and today. In other words, as transparent as a window, between today and itself. Because in today, there is always something of yesterday that persists in the present. Olivier Derousseau is sticking to his guns. His previous films prove it: Bruit de fond, une place sur la terre and Dreyer pour mémoire, exercice documentaire (FID selections in respectively, 2001 and 2005); his titles speak volumes. It was a question of giving way completely to a restrained rage and a righteous anger; words had to be given to the silent. It was a question of keeping head up. It's still the case: continuity. But today, Derousseau is going to look for this yesterday in another great taciturn. His subject is a chatterbox in his books, a proud partner of autistic persons, a cartographer of lost steps, and a dilettante filmmaker (his utmostly moving Le Moindre Geste): Fernand Deligny. He and some others (Georges Binetruy of the Medvedkine group, Jacques Rancière) are purveyors of words and images from the past. O.D. confides those in the present to a scanning: "You see/there were so many things to say/that we began/to be silent." The first uttered phrase is a paradoxical program, a suspensive project, a request to reveal, and a double-barreled joy. That his "actors" are handicapped (as already in his Dreyer) or for a long time hired for a painting, that they pronounce scrupulously-with all the respect of those who know that understanding is a lost paradise-, and that they move so cautiously that they increase the space of their steps, changes nothing. Although it is in the center of the focus, the shore remains far, or just off to the side.