The Taj Mahal

Dawn Patrol

The shadow of an opening door sweeps across the floor...

The Screen

The actors: a projector, a screen, a voice, an audience and a cinema. The locations: “here” and “there.” The situation: an audience is sitting in the dark in a cinema. The film begins when the projector is switched on. The projector is running empty, projecting only a bright white rectangle on the screen. The action begins when the voice asks the audience: “Are you there?” “Yes, you’re there,” the voice replies for us. “But one day you won’t be there, will you?” The voice isn’t “there.” Where is it? “Here.” Where? On the other side of the screen. The voice then asks us to project ourselves into a scenario, into the film of that inevitable eventuality we all prefer not to think about: the passage from one side of the screen to the other, from being “there” to “no longer being there,” from “here” to “there.” And what better place to do this than in a cinema?

Carlton Dekker

European Crisis

Professor Anatole Lacoste is having a meeting with one of the agents of doctor Brain at a Jackson Pollock exhibition at Centre Pompidou. Meanwhile, Deborah is about to take a bath when burglar Torlim Novak breaks into her house. Everything seems to be normal when the computer at the control station spots an anomaly in the way history functions. But how does one stop the film?

El Cafetal

On a coffee plantation near Havana in the early 19th century, a slave’s impossible love for the owner’s daughter.

Dream

Dreams: that cinema of the mind in which we are both spectator and protagonist, where anything is always seamlessly possible, where the most implausible encounters are commonplace.

Phaeton

A Touch of Venus

Anatole Lacoste et l'oeil du calamar

Anatole Lacoste and the Eye of the Squid General Picture – Episode 13 On his return to Paris after his discovery of the tomb of the giant squid Kheptar in the Nile Valley in Nubia, the Egyptologist Professor Anatole Lacoste falls into the hands of the malevolent Venezuelan scientist Madeleine Varga…

À plate couture

Written on the Wind

What do you remember about a film when you haven’t seen it for ten years? James McCourt’s memory is prodigious. In an office in the Rockefeller Center in Manhattan, the American writer recounts his favourite film, Douglas Sirk’s 1956 melodrama WRITTEN ON THE WIND, scene by scene, sometimes almost shot by shot.

For Eyes Only

Freighters of Destiny

Body and Soul

Suddenly Once More

The multiple identities of Professor Anatole Lacoste.