Bernadette Lafont and Michel Bouquet reteam with Kaplan as, respectively, a clairvoyant and a criminologist drawn into the orbit of widow Caroline Sihol; when the latter’s late husband Pierre Arditi turns out to yet have surprises up his sleeve for all of them, Kaplan hones in on the women’s by-necessity connection. The director foregoes her own cameo in favor of ones for colleagues Jean Chapot and Claude Makovski, both as nurses.
An account of the life and work of French filmmaker Claude Chabrol (1930-2010), a sybarite Buddha, a furtive anarchist, an insolent lover of life.
A journey in the company of Bernadette Lafont, French Cinema’s most atypical actress. Tracing her career from pin-up girl, to New Wave model of sexual freedom, to drug-dealing granny in the film Paulette, by way of La Fiancée du Pirate and Les Stances à Sophie, this film pays tribute to her extraordinary life and artistic odyssey. Her grand-daughters, Anna, Juliette and Solène, revisit the dreams of Bernadette, in the family home in the Cevennes region where they, like her, grew up. Her close friends, Bulle Ogier and Jean-Pierre Kalfon, reminisce on their artistic and human complicity. Throughout the film, Bernadette Lafont in person, with her inimitable character actress voice, re-evokes a life in cinema marked with insolence, courage and freedom.
Paul is a sweet man-child, raised — and smothered — by his two eccentric aunts in Paris since the death of his parents when he was a toddler. Now thirty-three, he still does not speak. Paul's aunts have only one dream for him: to win piano competitions. Although Paul practices dutifully, he remains unfulfilled until he submits to the interventions of his upstairs neighbour. Suitably named after the novelist, Madame Proust offers Paul a concoction that unlocks repressed memories from his childhood and awakens the most delightful of fantasies.
Monique, happy and about sixty, is at the head of a small meeting agency, specializing in the third age. Her friend Madeleine is a regular and does not hesitate to make her organize meetings with the gents that she finds to her taste, more out of curiosity than of desire to find the soul-mate. While, the meetings follow each other and are all different. Love does not, necessarily, knock where we expect it too !
France in the fifties. The teenage orphan Sylvie is put in an institution for "fallen" or endangered girls, subjected to harsh treatment by the bigoted nuns who run the institution like a prison. Sylvie befriends a girl who wants to escape.
Paulette lives alone in a housing project in the Paris suburbs. With her meager pension, she can no longer make ends meet.
Caroline and Olivier are sixteen, in love and would like nothing more than to be left alone. Unfortunately, be it parents, grandparents or even teachers, everyone seems to want to meddle and interfere in their affairs.
When his loot is mysteriously stolen, a small-time thief on the run hides out in a small village, posing as the local schoolteacher.
Bernadette Lafont is a French actress (born October 28, 1938 - died July 25, 2013). Thanks to his roles in “Les Mistons” (1957) by François Truffaut, “Les Bonnes Femmes” (1960) by Claude Chabrol, “La Fiancée du pirate” by Nelly Kaplan (1969), or even “La Maman et la Putain” (1973) by Jean Eustache, this popular star is considered one of the muses of the New Wave.
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