L'enfer (1994)

'Round Midnight (1986)

The Intouchables (2011) + touch

Juliette Binoche and François Cluzet in Un tour de manège (1989)

L’enfer / Torment Claude Chabrol. 1994

Hotel 22 Avenue Pierre-Paul Riquet, 31250 Revel, France See in map

See in imdb

UN MONSTRE À PARIS 2011

Faster, Paté! Imagine you're doing the Tour de France!

Title: A Monster in Paris

Rating: PG

Director: Bibo Bergeron

Cast: Vanessa Paradis, Matthieu Chedid, Gad Elmaleh, François Cluzet, Ludivine Sagnier, Julie Ferrier, Bruno Salomone, Sébastien Desjours, Philippe Peythieu, Mirabelle Kirkland, Allan Wenger, Jodi Forrest, Bob Balaban, Adam Goldberg, David Gasman

Release year: 2011

Genres: comedy, fantasy, adventure

Blurb: Shy movie projectionist Emile and colourful inventor Raoul find themselves embarked on the hunt for a monster terrorising citizens. They join forces with Lucille, the big-hearted star of the Bird of Paradise cabaret, an eccentric scientist, and his irascible monkey to save the monster, who turns out to be an oversized but harmless flea, from the city's ruthlessly ambitious police chief.

Late August, Early September

directed by Olivier Assayas, 1998

Out of Competition:

Masquerade (2022) Mascarade, directed by Nicolas Bedos.

Isabelle Adjani as Martha Duval; Marine Vacth as Margot; Pierre Niney as Adrien; James Wilby as Thomas; François Cluzet as Simon Laurenti; Emmanuelle Devos as Carole Laurenti; Laura Morante as Giulia; Charles Berling as Jean-Charles.

'Round Midnight (1986)

Late August, Early September (Olivier Assayas, 1998)

Cast: Mathieu Amalric, Virginie Ledoyen, François Cluzet, Jeanne Balibar, Alex Descas, Arsinée Khanjian, Mia Hansen-Løve, Nathalie Richard, Eric Elmosnino. Screenplay: Olivier Assayas. Cinematography: Denis Lenoir. Production design: François-Renaud Labarthe. Film editing: Luc Barnier. 

Late August, Early September is what you might call a “mood title” as opposed to a “content title.” It's like the ones Yasujiro Ozu gave his films, such as Late Spring (1949) or Early Summer (1951), not so much about the time of the year as about the feelings those seasons or months evoke. Assayas's film is about men and women who have reached that point in middle age at which it seems there's no turning back, no starting a new path in life, but instead they must go on into their later years on the track where they've found themselves. The central character of the film is Gabriel (Mathieu Amalric), a writer/editor who at the start of the film is selling the apartment where he has lived with his girlfriend, Jenny (Jeanne Balibar). They have broken up fairly amicably and Gabriel has now started a relationship with another woman, Anne (Virginie Ledoyen), who is a little more impulsive and unsettled than Jenny. Gabriel is friends with Adrien (François Cluzet), a modestly successful novelist who is fretting about how modest that success has been. Adrien, too, has an ex, Lucie (Arsinée Khanjian), but he has now taken up with a 15-year-old girl, Véra (Mia Hansen-Løve), a relationship he has kept secret from his friends. Adrien is also suffering from an unnamed disease. The film explores the relationships among these characters, who talk and smoke and make love the way people in French films do -- to the point where those of us who aren't French may get a little impatient for the film to get on with a plot. But it's so nicely acted by some very attractive performers that it didn't wear me down, even though when it ended I wondered a little what point it was striving to make. 

The Art of Love

The Art of Love    [trailer]

Romantic comedic drama composed of several chapters that follows a number of Parisian couples navigating their relationships and sex life.

Some interesting, amusing story set-ups. Not based on real situations, more theatrical, playful what-if's if we talked and acted more freely when it comes to sex and relationships.

That it's just short episodes leaves more room to think about it and makes it more enjoyable.

Michel Serrault und Isabelle Huppert als Kleinganovenpärchen in Liebesnöten ob ihres attraktiven aktuellen Opfers in Claude Chabrols Rien ne va plus sind herzig genug, mich daran zu erinnern, doch einmal vergleichende Studien mit Chabrols Madame Bovary zu betreiben, allerdings ohne mich von meinem grundsätzlichen "Chabrol wird überschätzt"-Vorurteil abzubringen.