Louis-Charles Sirjacq

In eight films, Jacques Audiard has renewed French cinema, without alienating either the critics or the success. It is only at the age of 42 that he starts directing, after having been an editor and a scriptwriter. In 1994, he directed his first film, "Regarde les hommes tomber", whose conflicting shooting was an ordeal for this misanthropic beginner. It was with "Sur mes lèvres", in 2001, that he forged his cinematographic language: contained lyricism, deliberate imperfection of images, ellipses plunging the audience into a maelstrom of sensations. With each of his films, Jacques Audiard intends to renew himself, at the cost of challenges and doubts always more vivid.

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In the aftermath of WWI, a young German who grieves the death of her fiancé in France meets a mysterious French man who visits the fiance’s grave to lay flowers.

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The next installment in a loose series about Renata Soukupová, first a girl and now a young woman. Renata, currently living in Paris, makes another return to the Czech Republic: a man comes to pick her up, and she decides to give him her love and trust. We know him from previous episodes; he is a former dissident named Holý, and he and Renata have always been attracted to each other. Renata realizes that he is finally the man with whom she would like to have a family. But Holý does not want children...

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At a wake one night in 1945, a group of aged women recall the life of one of their number. Sixty years before, Thérèse was barely 20 years old when she eloped with her boyfriend, Firmin, a blacksmith, to Châtillon, a town in Provence. Here, she makes the acquaintance of the wealthy Madame Numance, who is known for her good deeds. Realising that Thérèse is pregnant and unemployed, Madame Numance insists that she moves into a house on her estate. Whilst Firmin resents the arrangement, Thérèse soon finds that she can exploit the situation, using her benefactor's naivety and generosity for her own gain..

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A married couple lives in a state of mutual loathing, contemplating divorce until they invite their younger neighbours over for a drink. In that moment, the happy young couple is dragged into the bitter resentment and psychological warfare of the older pair.

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A former Yugoslav resistance fighter, Gregor Zidar, resurfaces in his old village in 1986, where locals have long believed him dead after his heroic act of saving hostages in 1944. Instead of gratitude, he faces cold suspicion and outright rejection.

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In Brazzaville, in 1944, Alex Emmerich was sentenced to wander the seas by Hélène Latray, the wife of Félix Beauvois, the man Alex loved. In 1962, exiled on Hatray cruises and feeling the coming death, Alex decides to compose for his love a testament: the photographic report of his agony.

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Lili is twenty years old, has an English mother, a magician father, a voice from elsewhere and a gift that only children know: the power of her own desire. It all starts with a summer night: that summer, Lili and Bruno will find love.

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Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

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