“Love is not made to console, no doubt — it is made to save. But we know all too well that one is only ever saved once. And only for as long as that once endures.” Inspired by The Eternal Return, Michel Surya’s novel, the film is a portrait of the book itself.
The journey of a young man as he begins an apprenticeship in the French countryside to train as a gardener. There he encounters a trio of men who will prove decisive in both his nascent career as a horticulturist and in unleashing his sexuality.
Shares 5 cast members · Same director
Following the steps of an English botanist, in the landscapes of the Normandy coast, people and cameras look at flowers. This is an essay on attention and friendship, a cinematic herbarium.
Shares 5 cast members · Same director
Shares 6 cast members · Same director
“It begins with an exhibition at the French Institute in Munich. We had decided to create an installation together [with Vincent Barré] in the greenhouse of the Seyssel d’Aix palace: a tribute to Paul Cézanne and his final model, the gardener Vallier….We spoke about the project with one of Vincent’s childhood friends, Christine Toffin, who reminded us that she was related to the painter. Her aunt, the painter’s granddaughter, still lived at Bourron-Marlotte. We decided to go and film Aline Cézanne in her retirement home at Bourron-Marlotte….It was during the sound editing that we thought of making a film using the images we had shot for the sound. The framing is minimal – it’s fine as it is, but it was not set up with a film in mind. A year later, we went back to see Aline. Her speech had become more confused and we went off with her to the village to find the houses of her childhood.”
Shares a lead actor · Same director
When an explosion at an oil well threatens hundreds of lives, a crack team is called upon to make a deadly desert crossing with nitroglycerine in tow.
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After the death of his father, Pierre and his friends Marie and Bénaïd, travel to Vézelay to Georges Bataille's tomb. There, they are get in touch with a priest, who seems to distinguish tourists from mystics, those who come for God and those who come for the writer.
Shares a lead actor · Same director
The final part of the film adaption of the erotic romance novel Gabriel's Inferno written by an anonymous Canadian author under the pen name Sylvain Reynard.
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African immigrants start working on a farm in Normandy and hope to open their own restaurant someday.
Shares 5 cast members · Same director
Husband, wife, and daughter have moved from Boston to Williamstown. At 16, Samantha treats her mother shabbily, but when the two of them are in a horrific car crash, the mother wills Sam to live, somehow losing her own life while her spirit enters Sam.
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Following a tense encounter with a mysterious stranger with otherworldly powers, a man finds himself banished to a parallel, tyrannical Earth, where he fights to get back to the woman he loves.
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Julia Child and Julie Powell – both of whom wrote memoirs – find their lives intertwined. Though separated by time and space, both women are at loose ends... until they discover that with the right combination of passion, fearlessness and butter, anything is possible.
Estranged siblings reunite after years apart, forced to confront unresolved tensions and reevaluate their strained relationships with their emotionally distant parents.
Jean-Dominique Bauby, editor-in-chief of French fashion bible Elle magazine, has a devastating stroke at age 43. The damage to his brain stem results in locked-in syndrome, with which he is almost completely paralyzed and only able to communicate by blinking an eye. Bauby painstakingly dictates his memoir via the only means of expression left to him.
Paul is preparing to leave Tajikistan, while thinking back on his adolescent years. His childhood, his mother's madness, the parties, the trip to the USSR where he lost his virginity, the friend who betrayed him and the love of his life.
Aimless young Alexandre juggles his relationships with his girlfriend, Marie, and a casual lover named Veronika. Marie becomes increasingly jealous of Alexandre's fling with Veronika and as the trio continues their unsustainable affair, the emotional stakes get higher, leading to conflict and unhappiness.
Suzanne Simonin describes her life of suffering in letters. As a young woman she is sent to a convent against her will. Since her parents cannot afford the dowry required for a marriage befitting her rank they decide she must instead become a nun. Although a kind and understanding Mother Superior helps her to learn the convent’s daily routine, Suzanne’s desire for freedom remains unabated. When the Mother Superior dies, Suzanne finds herself faced with reprisals, humiliation and harassment at the hands of the new Abbess and the other Sisters. For many years, Suzanne is subjected to bigotry and religious fanaticism. (Berlinale.de)
Marc, a bipolar and paranoid filmmaker, cannot tolerate seeing his current project picked apart by his producers. The clips he’s been able to sneak a look at lead him to fear the worst. With his editor as an accomplice, he manages to spirit away the rushes to his aunt’s place in the Cévennes, to finish the film as he envisions it. Instead, its completion is constantly postponed, as he creates endless diversions and impasses, which alternate between the comic and the downright disturbing.
Lui, a struggling author with a heart condition, and his wife Elle, a retired psychiatrist, find their idyllic life shattered when Elle begins to succumb to the effects of dementia.
In 1852, the mountain village in Provence where Violette lives is brutally deprived of all its men after the repression of the republicans ordered by Napoleon III. Women spend months in total isolation, desperate to see their men again. In this situation, they make an oath in case a man arrives in the village.
A poor miller gets tricked by the Devil and accidentally sells his daughter for a bit of gold. But Satan can't take her because she's too pure and has wept on her hands. So Satan orders the miller to cut her hands off. It's the beginning of the young girl's journey towards freedom.
“It begins with an exhibition at the French Institute in Munich. We had decided to create an installation together [with Vincent Barré] in the greenhouse of the Seyssel d’Aix palace: a tribute to Paul Cézanne and his final model, the gardener Vallier….We spoke about the project with one of Vincent’s childhood friends, Christine Toffin, who reminded us that she was related to the painter. Her aunt, the painter’s granddaughter, still lived at Bourron-Marlotte. We decided to go and film Aline Cézanne in her retirement home at Bourron-Marlotte….It was during the sound editing that we thought of making a film using the images we had shot for the sound. The framing is minimal – it’s fine as it is, but it was not set up with a film in mind. A year later, we went back to see Aline. Her speech had become more confused and we went off with her to the village to find the houses of her childhood.”
After the death of his father, Pierre and his friends Marie and Bénaïd, travel to Vézelay to Georges Bataille's tomb. There, they are get in touch with a priest, who seems to distinguish tourists from mystics, those who come for God and those who come for the writer.
Following the steps of an English botanist, in the landscapes of the Normandy coast, people and cameras look at flowers. This is an essay on attention and friendship, a cinematic herbarium.
“Yves Edouard is someone I hear a lot about. He’s a farmer and cereal grower, an endive producer…. He’s clearly a character out of a novel. One morning, I went to his farm and he hired me, as he needed someone to weed his endive fields….When I went to see him, I imagined constructing something romanesque and aesthetic. I had planned to film the work but this proved impossible. I then met Catherine Pernot, the friend of my friend Sophie Roger. I was enchanted by her way of talking about things, even the most ordinary ones. I described the work on the endive farm so that she could turn it into her own story. I recorded her and reworked her words to create a text that she then had to learn and act out in front of the camera. Next, I filmed an interview between Yves and myself. The film is thus composed of two sequence shots: Catherine, then Yves. As if they had slipped into their characters’ skin, she tells the story, he answers the questions.”
Portrait of the film-maker and visual artist Pierre Creton, who shoots films in the country of Caux, in Normandy, while taking on his agricultural tasks as a worker and farmer.
The journey of a young man as he begins an apprenticeship in the French countryside to train as a gardener. There he encounters a trio of men who will prove decisive in both his nascent career as a horticulturist and in unleashing his sexuality.
African immigrants start working on a farm in Normandy and hope to open their own restaurant someday.
A young woman crosses a confined provincial town and its outskirts. Once at her destination, a strange mourning protocol awaits her.
I’m looking for Medea. I investigate what we know about her, what we don’t say, and what she teaches us about ourselves. A text emerges: Medea-Material, by Heiner Müller. We lend our voices to this character – perhaps this time we’ll be able to hear her.
