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Herve Rossini is a renowned artist who expresses himself through his surrealist garden.

In a beautiful garden called Ecos, there are a variety of creatures there who neatly fulfill vital roles in the healthy ecological system of the area. However, this state of reasonable environmental harmony is disrupted when a new species of grub like creatures begin to ravish the land of a needed fruit. This folly leads to the disruption of the environment of the garden while this greed leads to a series of events that have tragic consequences.

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Marylou and Robinson (aged 17 and 18) break down in front of the gates of the Jardin des Plantes. There, they meet César, a tiger. By staring at him, playing with him, and provoking each other, they awaken the evil that lies dormant within him. Robinson ends up inhabiting him.

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Cemeteries are natural open-air theaters with their own codes, aesthetics, vegetation, visitors, and organization, which deeply reflect the culture and beliefs of the people who live around them. This constant juxtaposition of death and life is what gives them their dynamism, their strangeness, but also their photogenic power. Behind their walls, we can discover stages of life, unique destinies, and intimate stories that we try to capture in the rhythm of the seasons. In "The Eternal Garden: Père Lachaise Cemetery in Paris," we also encounter the most famous graves of Oscar Wilde, Edith Piaf, and Jim Morrison.

With his camera pointed at subjects who are far from intimidated by his presence, Jean-François Caissy invites us into the chaotic and authentic world of early childhood. Jardin d'enfants follows several groups at a daycare centre, focusing on the seemingly mundane daily lives of one- to five-year-olds: their interactions, confrontations, desires, curiosities, and frustrations. These candid composite images feed our insatiable curiosity about these unbridled beings with budding motor skills who are testing their brand-new senses and the constraints of their worlds, those individual bubbles in which they are firmly at the centre. Over time, socialization does its almost invisible work and behaviours develop, reminding us of all the effort and energy expended in shaping the social animals we are.

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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.