Romain Goupil

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Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

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Fifty years after the events of May 68, Dany Cohn-Bendit and Romain Goupil have decided to start a journey across France. In this "road movie" they explore the territories - at times bewildering - of the Republic. Observing, listening, debating, discovering the state of the country. Its crises and its hopes. Its ordinary heroes, its gravediggers, its innovators...ON THE ROAD IN FRANCE or the tour and detours in France of two old children of 68.

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In 1967, during the making of “La Chinoise,” film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.

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Patrick, a travel agent in his early 30s, lives with Arthur, an immigration lawyer; but for a long time, Patrick has been sleeping on an air mattress on the floor of their bedroom. His younger brother, Tony, plans to marry his high school sweetheart but is having an affair that is far more satisfying than his relationship with his fiancee. Their older brother, Ryan, is divorced, living at home and working at his parents’ hopelessly unprofitable men’s clothing store. And McCauley soon makes achingly clear that the parents’ marriage is far from happy.

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The day comes when your children look at your past as if you had fought at Verdun. The day comes when an official letter questions your age and your status and pushes you toward retirement. The day comes when your latest screenplay idea does not turn into a film. The day comes when your new bank manager urgently summons you. The day comes when you remember meeting Her during the war in Sarajevo. The day comes when you begin all your sentences with “before.” The day comes when all your time is measured out, the children grow up, your parents grow weak. The day comes when you meet a young woman who loves old men: the old married ones.

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A writer suffering from a lack of inspiration sneaks his way into the lives of a star television journalist and his lead ballerina daughter to write, unbeknownst to them, a non-authorized biography. Meanwhile, in Brittany, twenty-year-old Bruno, who lives with his parents, doesn't yet know the consequences that this story will have on his existence...

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March 22, 2067. At dawn of life, Milana remembers her life, when she was a young Chechen immigrant in Paris, struggling for a better life along with her school friends.

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25 years of the life of Marie, a Parisian party girl, first teenager leaving her mother at 17, then short star of the song, and finally mother of a teenage girl, Esther, who flees as she fled her mother.

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When their regal matriarch falls ill, the troubled Vuillard family come together for a hesitant Christmastime reunion. Among them is rebellious ne'er-do-well Henri and the uptight Elizabeth. Together under the same roof for the first time in many years, their intricate, long denied resentments and yearnings emerge again.

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Gustave Courbet defied the conventions of classical French painting to become an innovator of Realism. This documentary by filmmaker Romain Goupil explores Courbet's life and work, revealing the fiery spirit that drove him to lead rather than follow.

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A handful of student revolutionaries from the Seventies meet up 30 years later to plan a robbery. This is not entirely correct, because they are friends, anyway, and always have been. They play cards together and go to each others’ birthday parties, have wives and children and probably mortgages. Romain Goupil’s film appears to be a throwback to the experimental days of cinema verite. Either that or it’s a home movie, shot with a video camera, to an improvised script or no script at all.

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Anaïs is twelve and bears the weight of the world on her shoulders. She watches her older sister, Elena, whom she both loves and hates. Elena is fifteen and devilishly beautiful. Neither more futile, nor more stupid than her younger sister, she cannot understand that she is merely an object of desire. And, as such, she can only be taken. Or had. Indeed, this is the subject: a girl's loss of virginity. And, that summer, it opens a door to tragedy.

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The idea for this film about a generation and its lost ideals came to Romain Goupil after attending several funerals of friends in the fall of 1996, where the '68 generation, now in influential positions in media or politics, kept meeting each other. It seemed as if the revolution that they had tried to make was being buried with each coffin. A MORT LA MORT is in some ways an homage to this generation, now in their fifties. They were a privileged generation that thought that they could change the world, doing everything that their parents failed to do. There were no actual deaths in France as there were in Germany or Italy, but the system was not ideal for personal issues or for love. There was always a scapegoat for the injustices of the world, be it capitalism or imperialism. That way the blame could be placed somewhere else. Some of the '68 generation are still faithful to the principles of their youth and still continue to fight for the illusions of the past.

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Aging beautician Angèle, already wounded by a long-ago romance, gets awkwardly dumped at a train station. Witnessing how she turns around a humiliating situation, younger sculptor Antoine becomes so smitten that he breaks up with his fiancée and sets out to win Angèle's heart. Meanwhile, Angèle attempts to quash the budding romance of her young co-worker, Marie, and a much older widowed client, despite their obvious rapport.

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She was 18. They were in love and lived together for ten years. 20 years later, he receives a letter from her. L is very ill. He grabs hold of his camera and films while trying to make her talk about other things, about cinema and what’s become of those political struggles…

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Storm in Brittany. Destruction of a pheasant farm. Reflections between father and son on the future.

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During the 1982 Cannes Film Festival, Wim Wenders asked a number of global film directors to, one at a time, go into a hotel room, turn on the camera, and answer a simple question: "What is the future of cinema?"

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Michel Recanati was a militant leader in the May, 1968 riots in Paris, organizing many groups to meet, discuss, and act on leftist principles both before and after the disturbances. He was imprisoned for a short while in 1973. Disillusioned after the failure of the demonstrations and the death of the only woman he had loved, his life seems to have changed from a period of hope and activism to one of bottomless despair. His friend, Romain Goupil wrote and directed this biographical documentary. Death at 30 received the 1982 Cannes Film Festival's Golden Camera Award for "Best First Feature-Length Film."

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Here Duras assumes a more distant role, less an interviewer than an invested documentarian. Her questions precede footage of her main subject, the sixteen-year-old Romain Goupil, recently excluded from the lycée, among his peers and fellow student revolutonaries. After we see them discuss the complexities of their position and deal with internal dissent, Duras asks Romain if he ever forgets how young he is. Romain replies with a grin: “Totally.”

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Influenced and inspired by Jean-Luc Godard, some young french directors (Jean Eustache, Francis Leroi, Jean-Michel Barjol, Romain Goupil, Luc Moullet) are talking about their problems in producing less expensive and more free films in the french industry of cinema of the 60's.

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The day comes when your children look at your past as if you had fought at Verdun. The day comes when an official letter questions your age and your status and pushes you toward retirement. The day comes when your latest screenplay idea does not turn into a film. The day comes when your new bank manager urgently summons you. The day comes when you remember meeting Her during the war in Sarajevo. The day comes when you begin all your sentences with “before.” The day comes when all your time is measured out, the children grow up, your parents grow weak. The day comes when you meet a young woman who loves old men: the old married ones.

Open details →

March 22, 2067. At dawn of life, Milana remembers her life, when she was a young Chechen immigrant in Paris, struggling for a better life along with her school friends.

Open details →

A handful of student revolutionaries from the Seventies meet up 30 years later to plan a robbery. This is not entirely correct, because they are friends, anyway, and always have been. They play cards together and go to each others’ birthday parties, have wives and children and probably mortgages. Romain Goupil’s film appears to be a throwback to the experimental days of cinema verite. Either that or it’s a home movie, shot with a video camera, to an improvised script or no script at all.

Open details →

The idea for this film about a generation and its lost ideals came to Romain Goupil after attending several funerals of friends in the fall of 1996, where the '68 generation, now in influential positions in media or politics, kept meeting each other. It seemed as if the revolution that they had tried to make was being buried with each coffin. A MORT LA MORT is in some ways an homage to this generation, now in their fifties. They were a privileged generation that thought that they could change the world, doing everything that their parents failed to do. There were no actual deaths in France as there were in Germany or Italy, but the system was not ideal for personal issues or for love. There was always a scapegoat for the injustices of the world, be it capitalism or imperialism. That way the blame could be placed somewhere else. Some of the '68 generation are still faithful to the principles of their youth and still continue to fight for the illusions of the past.

Open details →

She was 18. They were in love and lived together for ten years. 20 years later, he receives a letter from her. L is very ill. He grabs hold of his camera and films while trying to make her talk about other things, about cinema and what’s become of those political struggles…

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Lulu is released from prison. Determined to fulfill her dream, find her kids, those of her best friend who remained locked up and go very far. The former inmate will do everything to carry out the "heist" that will get her the money.

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Storm in Brittany. Destruction of a pheasant farm. Reflections between father and son on the future.

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The French intelligence agency plants Xavier, a former militant leftist, into a fascist organisation called Janus, against whom Xavier bears an old grudge.

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Michel Recanati was a militant leader in the May, 1968 riots in Paris, organizing many groups to meet, discuss, and act on leftist principles both before and after the disturbances. He was imprisoned for a short while in 1973. Disillusioned after the failure of the demonstrations and the death of the only woman he had loved, his life seems to have changed from a period of hope and activism to one of bottomless despair. His friend, Romain Goupil wrote and directed this biographical documentary. Death at 30 received the 1982 Cannes Film Festival's Golden Camera Award for "Best First Feature-Length Film."

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