Young Queen Margot finds herself trapped in an arranged marriage amidst a religious war between Catholics and Protestants. She hopes to escape with a new lover, but finds herself imprisoned by her powerful and ruthless family.
Cécile and Samira can't pay their expensive Paris rent. Walking down the street the two girls see an art gallery reception and finesse their way in. In attendance are Michel Farnèse, a very... See full summary »
The solitary Daniel and Sonia share an uneasy love/hate relationship. Daniel's life is disrupted by the appearance of a stranger that proceeds to insinuate himself in his life. The man's ... See full summary »
Antoine is a social wannabe who drops an elusive aristocrat's name to get into an exclusive party. The name - Jordan - gets him whisked by two burly bodyguards into the office of the host, ... See full summary »
Antoine de Caunes
A failed London musician meets once a week with a woman for a series of intense sexual encounters to get away from the realities of life. But when he begins inquiring about her, it puts their relationship at risk.
In the scene where Claire and Viviane are sitting at the table discussing Viviane's name, Claire's hands alternate between touching her face and resting on the table repeatedly between shots. See more »
The credit scroll reverses direction for the soundtrack section, temporarily scrolling down instead of up. See more »
Hard to avoid the Wellesian overtones here which begins with a death and goes on to explore the impact of the dead man not so much on the upper-case World as in Kane but on his own lower-case world as a fairly respectable number of those whose lives he touched travel to and assemble at his childhood home in Limoges. Amazingly one of the comments I've just read suggested that next time around the director employ a scriptwriter. This comment displays an ignorance verging on the colossal given that Daniele Thompson, who co-wrote the script from her own Original idea, is one of the outstanding screenwriters in French cinema having started with a classic 'Le Grand Vadrouille' at the age of 24 and progressing through such well-received titles as Le Follies de Grandeur, La Reine Margot until she began - with La Buche - to direct her own screenplays. Be that as it may the script is right up there with the best as are the performances not least the ever luminescent Valeria Bruni-Tedeschi whose performance alone is reason enough to see this. Okay, there are strong elements of homosexuality because it's inevitable that homosexuals are very much a presence in the modern world. As a heterosexual I wouldn't have a great deal if any at all interest in out-and-out homosexual films, literature or plays but neither did the homosexual content here bother/disturb me because it was shown in context within a highly complex, swiss-movement be-jewelled story. One that bears repeated viewings.
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