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Another insecure contract, an intolerable boss and abusive assignments paid at minimum wage ? In the merciless world of temporary work, there is sometimes a useful weapon with which to annoy your superiors: the Labour Code.
January 2011 : the revolution bursts in Tunisia, my father’s country. The Tunisian people scream in a rage and I, here in Paris, can feel their revolt vibrating in my heart.
As a novelist, actress/screenwriter for François Ozon and director, Marina de Van is fearless, always eager to deal with taboos and expose herself. Mostly home-made and shot under the radar, Ma nudité ne sert à rien is a brave self-portrait of de Van as a forty-something wandering soul, asking herself about her work, body and relationships in the age of dating apps and one-night stands.
Jeanine, ten, can't take it anymore from her parents, former hippies, who only think of having fun. In order to gain access to the square and organized life of which she dreams, she secretly registers for a gymnastics competition with the hope of winning the first prize: a place in a sport studies boarding school.
The cider-making process : an art of knowing how to poetize reality.
Fragmented memories of a voyeur in 3 chapters: "I grew up" but I’m still falling. "The stalker" who loses his footing. "Memory" and regression.
A man steps on a landmine and pays with his life.
Once inseparable, Charles the artist and Daniel the schemer reunite after 15 years of separation and confess their mutual misfortune. Determined to start over, the two friends and Sylvie, a friend of Charles, take on the movie business. But they come up against the well-established laws of the business and create havoc wherever they go. But their optimism will save them.
It is every professional gambler's dream: getting rid of that stupid thing called 'luck' which helps amateurs win nevertheless. But when you have it at gunpoint be sure to pull the trigger - because if you don't you'll learn it the hard way: don't mess with luck!
This particular love song is an ironic, oftentimes caustic, commentary on the terror and pain of love, from a child's desperate attempts at closeness with his parents to an adult's relationship with a cruel and isolating world. Animated boldly with a paint brush and black ink, the action, like a continual dance, throbs to the rhythms of a five-string banjo. Shapes change, are metamorphosed, in an emotional roller-coaster trip through the subconscious.
In 1959, Jean Cocteau looked back on his artistic journey for the Télé Monte-Carlo television show Tout la vérité, rien que la vérité. The program ends with a tasty anecdote about television that Cocteau describes as a “box of tricks”. A few weeks later, in the same Victorine studios, Cocteau directed most of the sequences for his last opus: The Testament of Orpheus (1959).
