随着时光的流逝，最初的巴洛克式花园早已消失不见，如今的凡尔赛宫已经和过去的景象相差甚远。尽管过道的布局未曾改变，但那些曾令来访者惊叹不已的建筑和设施却已不复存在。 我们是否能重现凡尔赛宫原有的面貌？让这座神奇宫殿的原貌重现于世间？现代科学技术人员与历史学家们共同合作，努力复原凡尔赛宫旧貌，探究路易十四时期的工艺与历史文化，带你了解凡尔赛宫的前世今生。

当今的巴黎，无业游民尼娜带着五岁的孩子恩佐露宿街头，他们辗转到了凡尔赛。在城堡附近的一座树林里，达米安住在一所茅屋里，与世隔绝。尼娜和达米安共度一晚后，第二天一大早就丢下孩子消失了。达米安醒来之后发现了恩佐。时间一天天过去，一个季节一个季节过去，达米安和这个孩子互相了解，互相依赖。在穷困中，他们的感情日渐深厚。但是有一天他们不得不离开茅屋。

Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the « action », what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Buñuel and Dali, a royal figure engages in a quest for his death mask.

Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the « action », what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Buñuel and Dali, a royal figure engages in a quest for his death mask.

《太阳王》(Le Roi Soleil)是卡梅尔·瓦里(Kamel Ouali)编排，德芙·阿缇娅(Dove Attia)和阿尔伯特·柯恩(Albert Cohen)制作的音乐喜剧。这个音乐剧描述了法王路易十四(Louis XIV)的爱情与生活(“太阳王”是路易十四的绰号)。2005年9月22号，这部戏剧在巴黎体育宫(Palais des Sports de Paris)第一次上映；最近一次上映实在两年以后，2007年7月8日，经过在法国、比利时和瑞士的两次巡演，《太阳王》在贝西体育宫(Palais Omnisports de Paris-Bercy)上演。值得一提的是，2006年和2007年，《太阳王》还两次获得NRJ音乐奖(NRJ Music Awards，NRJ全称National Radio de Jeunes，是法国最受欢迎的广播电台之一，而NRJ Music Awards素有法国“格莱美”之称，“NRJ音乐奖”是法国音乐界里的最高音乐奖项，同样是影响着音乐界的风向标)。 　　太阳王，就是法国全盛时期的国王『路易十四』。故事是以路易十四感情生活为主线。路易十四很小就即位成为国王，但是政权掌握在以残忍出名的红衣主教Mazarin与路易十四的母亲Anne D’autriche的手上。这部音乐剧由人民反对红衣主教Mazarin的LA FRONDE运动为开篇，这场运动在大炮声中结束。年轻的路易出场,在盛宴上路易十四遇见并爱上了Mazarin的侄女---Marie Mancini。一个意大利的没有贵族身份的女子。其后路易十四为了建立威信，他参加了一场战争，身染重病，生命垂危。王室已经开始将他忘却，并转向他的弟弟。但是Marie仍然为他祈祷，最后神奇的路易十四痊愈了，对于Marie他感到深深感动，因此跟她求婚。但是路易十四母亲与Mazarin大力反对，把Marie驱逐並逼迫路易十四娶了西班牙公主。第一幕在离愁中结束，年轻的国王为了自己的责任牺牲了爱情。 第二幕，当主教Mazarin与路易十四的母親去世后，路易十四掌握大权，但他在De Montespan夫人等众多贵族美女的怀抱中迷失了自我，在凡尔赛生活极尽奢华，完全忘记了他的人民为了他的迷梦所需要付出的沉重代价。经过铁面人和投毒事件，路易实现了他当年跟Marie没有实现的事情，他力排众议要迎娶Francoise D'aubigne。是他与De Montespan的私生子们的家庭教师，同时Francoise也是个私生女。最后，路易十四完成他梦想——成为受世人尊敬的太阳王。

路易十四（皮尔斯·布鲁斯南 Pierce Brosnan 饰）虽然建立了自己的帝国，却一直苦于找不到能够继承他的王位的后代，一天，他得知美人鱼的力量可以令人类得到永恒的生命，于是，路易十四派出了得力干将伊夫斯（本杰明·沃克 Benjamin Walker 饰）出海远征，并且最终成功的带回了一条美人鱼（范冰冰 饰），将她软禁了起来。 　　平凡的女孩玛丽（卡雅·斯考达里奥 Kaya Scodelario 饰）在某一日突然被带到了王宫之中，实际上，她的真实身份是路易十四的私生女。当路易十四遭遇了财政问题之后，他决定利用玛丽来联姻以解决他的经济危机。玛丽见到了美人鱼，两人之间渐渐产生了真挚的友谊，与此同时，玛丽还爱上了负责看守美人鱼的伊夫斯。

故事发生在18世纪末的法国，以象征法国繁荣的波旁王朝（Bourbon Dynasty）的凡尔赛宫为背景，叙述了一名年轻的女性奥斯卡（Oscar）一生的爱恨情仇。 1755年，奥斯卡出生于法国凡尔赛，是贵族家的第六个女儿。由于出生时的宏亮哭声，以及一直未能生育男丁，求子心切的父亲·杰尔吉将军决定将她当作男子来教育，并赋予了她一个男性化的名字“奥斯卡”（台湾翻译为欧丝嘉）。父亲的这个决定，开启了奥斯卡不平凡的一生……

作为世界上最著名的城堡之一，凡尔赛宫是人类艺术宝库中一颗灿烂的明珠。与紫禁城相同，这座金碧辉煌，装饰极尽精美奢华的雄伟建筑，正是路易十四为了彰显国家财力和国王力量所造。三个世纪以来，从外国使节到国家元首，无不在踏进凡尔赛宫时为其磅礴的气势所折服。法国的总统们延续了当年路易十四的想法，将这一国家宝藏用于政治用途，有的是为了体现敬意，有的是为了震慑别国。本片聚焦这座全世界无出其右的华美宫殿，从各方面讲述了它的变迁，为观众带来新的认识。

奥斯卡是名门之后，由于家中没有男丁，于是从小就被当做男孩养大。十四岁那年，奥地利和法国进行政治联姻，奥地利公主玛丽即将嫁给法国王子路易，父亲将奥斯卡送入了宫殿侍卫队，赋予了她保护玛丽的重任，只为了家族能够在腥风血雨的宫廷斗争之中拥有自己的一席之地。 　　之后，奥斯卡和玛丽结识了年轻的菲尔逊，两人同时爱上了这位风度翩翩的贵族，然而，菲尔逊选择了玛丽，他对玛丽的爱如此真挚和深沉，奥斯卡将这一切看在眼中，痛苦万分。皇帝去世，路易登基，玛丽因此成为了皇后，而她和菲尔逊之间的韵事已经逐渐无法再隐瞒下去。