From award-winning director Phil Grabsky comes this fresh new look at arguably the world’s favourite artist – through his own words. Using letters and other private writings I, Claude Monet reveals new insight into the man who not only painted the picture that gave birth to impressionism but who was perhaps the most influential and successful painter of the 19th and early 20th centuries. Despite this, and perhaps because of it, Monet’s life is a gripping tale about a man who, behind his sun-dazzled canvases, suffered from feelings of depression, loneliness, even suicide. Then, as his art developed and his love of gardening led to the glories of his garden at Giverney, his humour, insight and love of life is revealed. Shot on location in Paris, London, Normandy and Venice I, Claude Monet is a cinematic immersion into some of the most loved and iconic scenes in Western Art.

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

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.

A young man, to whom life has never smiled, decides to change his destiny and begins by conquering the pretty woman with whom he fell in love.

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.

A hapless, bad-luck prone loser meets a free-spirited Frenchwoman who inspires him to get his life back on track.

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One day in 1986, François Mitterrand forgets his black felt (his initials) in a Lyons restaurant. Daniel Mercier, a young executive who has just been reprimanded by his superior, who judges that the computerization of its business plan is stupid, steals it to clear his head. It was then that his life is turned upside down.

A peaceful provincial notable saves the life of a man who has just had a car accident. He has no idea that his life is going to be completely turned upside down…. Because Jean-Bernard Hollier is what we can call a “ball”. A ball with a big heart but above all a ball… And by wanting to thank his savior at all costs, he is just going to make his life hell! Not happy mafiosi, burglaries and troubles of all kinds will rain down on the two men and their family... All they have to do is work together to get out of this mess... But that is not a foregone conclusion. …

Roman has two problems: First problem: he is twice the age of Lulu. Second problem: it is not at all a problem for Lulu.