Sidonie returns from Morocco with a broken heart because of a man called Diego.Then her sister,Marion, a lawyer of Paris,decides to travel to Morocco to give him a lesson.

Sidonie returns from Morocco with a broken heart because of a man called Diego.Then her sister,Marion, a lawyer of Paris,decides to travel to Morocco to give him a lesson.

Amazon开发法语剧集《Une Île》

Jan-Olof has an unresolved relationship with his father, and during the days leading up to the funeral, he tries to find out who the father really was. The practical arrangements for a funeral are often of a tragicomic nature.

Nicolas, deeply in love with Julie, dreams of marrying her. Touched by his passionate love, she decides to break up with her lover Philippe, who is more than 20 years her senior and married to Marianne. In order to retrieve the keys to her studio apartment, she must meet Philippe one last time at his home and leads Nicolas to believe that she is going to her parents' house. He secretly follows her.

Inspired by the American program Saturday Night Live from NBC, around thirty actors take part in various humorous sketches.

Inspired by the American program Saturday Night Live from NBC, around thirty actors take part in various humorous sketches.

Jean Eustache (1938-81) was clearly obsessed with remakes. Not only did he remake his 1968 documentary about his home town, LA ROSIÈRE DE PESSAC, in 1979; he also remade his 1977 documentary UNE SALE HISTOIRE twice—first as a fiction film, and then, less literally, as a documentary about Bosch’s “The Garden of Earthy Delights” two years later. 　　Let me explain. The first version of UNE SALE HISTOIRE, designed to be shown second, and shot in 16mm, features Jean-Noël Picq recounting a supposedly real-life “dirty” story to a group of people, mainly women (although also including Eustache himself, visible in the foreground of a couple of shots)—a tale about peering for hours through a hole in the wall of a café into the ladies room in order to watch the snatches of women seated on the toilet. (He calls the women’s snatches their “holes,” and the word trou is repeated incessantly throughout his monologue.) The second version, shot in 35mm and designed to be shown first, adds a short prologue with critic Jean Douchet as a film director (an apparent stand-in for Eustache) asking Michael Lonsdale to tell the same story, this time to a different group of people (again mainly women, but not including Eustache)—which he does, using virtually the same words, while the women listeners make precisely the same comments. (The only previous time I saw this film, in Paris soon after it was made, these separate versions were shown respectively in 35mm and 16mm. In the Eustache retrospective currently touring in the U.S., they’re both shown on 35mm, which obscures some of the visual differences.) 　　As for HIERONYMOUS BOSCH’S “THE GARDEN OF EARTHLY DELIGHTS”, this shows Picq again, in a different living room, describing and discussing Bosch’s famous triptych (see photo below), mainly the middle panel, to a group of young people, again mainly women, who again add a few comments of their own. The main emphasis here is on various body orifices. 　　An obsessive-compulsive filmmaker and clearly a tormented one who wound up dying by his own hand, Eustache was clearly experimenting with his variations as well as goading viewers into examining their own reactions to them. The monologue in both versions of UNE SALE HISTOIRE evokes many of the interminable monologues of Jean-Pierre Léaud in THE MOTHER AND THE WHORE (1973), all of which were reportedly real-life monologues that Eustache delivered to friends or lovers and then transcribed shortly afterwards.