Romain is a very successful fashion photographer who's diagnosed with terminal cancer. He copes by being cruel and nasty to those he loves, until a visit with his grandmother changes his outlook. But, his boyfriend's moved out, now what?
Sasha, a young British woman, is living with her baby daughter at Ile d'Yeu, a peaceful beach community. A stranger appears. Her name is Tatiana, she's passing through, and pitches her tent... See full summary »
When her husband is taken hostage by his striking employees, a trophy wife (Deneuve) takes the reins of the family business and proves to be a remarkably effective leader. Business and ... See full summary »
The adventures of an upper-class suburban family abruptly confronted with the younger brother's discovery of his homosexuality, the elder sister's suicide attempt and sado-masochist ... See full summary »
Marina de Van
In Paris, the thirty-one year old gay fashion photographer Romain learns that he has a terminal cancer and his chances with the chemotherapy are the least. His choice is to live the rest of his life without treatment. He hides the truth from his lover Sasha and his family and is cruel with them. He travels to visit his grandmother Laura and has a small talk with a waitress. He spends a couple of days with Laura and he meets by chance the waitress again that asks him for an unusual favor. Romain returns to Paris and changes his attitude toward the rest of his life. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Performed by Motor Bass
Written by Philippe Cerboneschi / Étienne de Crécy
Published by Motor Bass/Copyright Control
(p) 1995 Motor Bass
avec l'aimable autorisation de EMI Music France See more »
Dying? Why? How? Do I have the chance to look at my own demise from where I'm standing and I'm given the chance, even if brief, to do what I can to arrive to the fatal randez-vous without a heavy heart. Is that possible? We live the question in painful, stunning moments of reflection. Melvil Poupaud's face is not merely beautiful but transparent. I decided very early one that he/his character and I were diametrically opposites and yet, I felt the communion, I was with him I sort of understood. I wept for him and for me, I wept for everyone I've lost and for all the ones I'm going to loose before I go. I've also decided that I like François Ozon very much. That his movies take me places in a brutally gentle way and I come out of this experiences with something new. Thank you very much.
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