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René ou le roman de mon père

This ‘roman’ (both romance and novel) of her father is narrated by Cécile Decugis’ voice – somewhat hoarse, unsentimental and unforgiving. It is a ‘photo-roman’, a story in stills (a few cinematic shots excepted). It starts as a chronology of her father’s and mother’s lives: characters like everybody else – and thus unique. The photographs in the family album record the feeling of time past through the gradual changes in body language, in women’s dresses, in artefacts of self-representation – cars, planes.

René ou le roman de mon père

NR 2016
The Kidnapping of Michel Houellebecq

In September 2011 writer Michel Houellebecq briefly disappeared off the face of the earth. Wild rumours began circulating on the Internet that he’d been abducted by Al-Qaeda or aliens from outer space. Some Twitter users even expressed relief that the controversial author was suddenly no longer around. This film now reveals what really happened: Three tough guys variously with impressive hairstyles and bodybuilder physiques carried off the star intellectual, taking him out of the daily stress of dodging autograph hunters and having his flat renovated and bringing him to a beautiful rural underdog idyll, full of dog grooming, bodybuilding demonstrations, junk cars and Polish sausages. But who was to pay the ransom?

The Kidnapping of Michel Houellebecq

6.5 2014
Damocles

Hélène and Paul, early 30s and long-term singles, have been living in a two-person flat for years. Currently, graphic designer Paul wants to escape the digital constraints of his time and has acquired an age-old phone on which only "real" friends can reach him. One evening Paul gets from a friend at a party, his future predicted: Soon he will meet the love of his life, but also commit a murder. A short time later, when he meets the stunning Camille and falls in love with her, he begins to doubt with all luck. Could the prophecy really be true?

Damocles

4.7 2016
Deng Guo Yuan, in the garden

During a trip to China with Vincent to meet people in art schools and universities, I discovered the work of Deng Guo Yan, the director of the Tianjin school of contemporary art. A painting style that seemed to me to be a mix of traditional Chinese painting, Claude Monet and Cy Twombly, and which I liked. The black and white of his large ink brush paintings on paper, almost the size of a mural, made it possible for me to jump from black and white to colour in this film, as I had done in the Recueil but with other connotations: with excerpts from Jean Renoir in Aline Cézanne, photos of Le Havre destroyed in Papa, Maman, Perret et moi, and infrared images taken by Georges-Arthur Goldschmidt in Le Paysage pour témoin”.

Deng Guo Yuan, in the garden

NR 2010