Pierre Assouline

An aspiring Hollywood actress, on a visit to a charming North England town, has a brief fling with the town undertaker, who also writes obituaries for the local paper. Returning home, where she works as a waitress at a Japanese restaurant, she tells everyone about the handsome "writer" she met on her trip. Unfortunately, he decides to follow her back to Hollywood, setting up the expected light romantic comedy with asides as the newcomer gains experience about the goings on in Hollywood.

Six Prague residents pursue bizarre rituals. Mr. Peony builds a chicken costume to wear while enacting homicidal fantasies toward neighbor Mrs. Loubalova, who does the same dressed as a dominatrix. Their mail carrier, Mrs. Malkova, inhales tiny balls of bread. Newsstand operator Mr. Kula obsessively watches the broadcasts of news anchor Mrs. Beltinska, whose husband regularly scrubs his body.

Kunhikuttan, a famous Kathakali dancer, meets Subhadra, a woman from an upper caste family, who falls in love with his character rather than himself.

Hours and historical meetings, Pierre Assouline has composed an anthology of the best extracts presented in the form of a primer, which he had commented on by a surprised Bernard Pivot.

Documentary about one of the greatest French thinkers of the twentieth century, Claude Lévi-Strauss (1908-2009).

This documentary follows three parallel stories. First, that of the masterpiece, The Little Girl with the Blue Ribbon, this melancholic Renoir work with the "musical face" described by Henri Michaux. The painting was constantly tossed around, shelved by its patrons, looted by the Nazis, found by the Monument Men, recovered by the family, sold to a controversial collector, before finally arriving at the Kunsthaus Zurich. We also discover the painter's biography, and the eventful life of his model, Irene Cahen d'Anvers. Born into the Jewish upper middle class, this free and divorced woman long disowned the painting and left it to her daughter, who was murdered at Auschwitz. Discover the tumultuous journey of this painting, its model, Irene Cahen d'Anvers, and its connection to the dark hours of the Nazi regime.

Marguerite Duras still has much to tell us about her words and about her silences. In this film, hers is the only voice we hear. She talks about herself, without excuses, and with the keen wit, the humour, and the straightforward attitude that became her trademark.