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IN CANNES 2 LA CROISETTE - 3RD FLOOR - 06400 CANNES T: +33 4 9298 9650 F: +33 4 9298 9648 LOUIS GARREL VAHINA GIOCANTE MATHIEU AMALRIC

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2 LA CROISETTE - 4TH FLOOR - 06400 CANNES A CURTAIN RAISER T: +33 4 9298 9155   F: +33 4 9298 9648 A FILM BY FRANÇOIS OZON

MAGALI MONTET E: [email protected] M: +33 6 7163 3616

GORDON SPRAGG E: [email protected] M: +33 6 7525 9791 From “Un incompris” by Henry de Montherlant MONTHERLANT  ABOUT HIS PLAY “UN INCOMPRIS”

“Madame Mary Morgan, manager of the Saint-Georges Theatre, which was going to put on “Fils de Personne” for the first time, asked me to write a curtain raiser, without which the evening would be a bit short. I consequently wrote “Un Incompris”, which went on before “Fils de Personne” at the dress rehearsal. But the next day, a decree was issued ordering theatres to close at ten in the evening (it was during German occupation), and “Un Incompris”, put on in the provinces and abroad, was never staged in Paris. I was interested in making “Un Incompris” a sort of counterpart to “Fils de Personne”, a counterpart drawing on caricature. Bruno separates from Rosette, while still loving her the way Georges separates from Gillou, while still loving him; and both of them do it in the name of principle. Bruno could be Georges at the age of twenty. But the father and son’s tragedy is treated in a serious vein. I left a touch of comedy in the lovers’ tragedy, which exists in every situation in life. Bruno is both heroic and ridiculous. His final “We’ll see!” indicates his touching uncertainty about his future conduct.”  SYNOPSIS Bruno and his friend Pierre are in Paris in Bruno’s bachelor flat awaiting the arrival of Rosette, who’s late again. But this time, Bruno’s mind is made up; if Rosette is more than 45 minutes late, the relationship is over. Did you immediately think of adapting it for the cinema? Yes, in the same way I did when I discovered the Fassbinder play “Water INTERVIEW WITH drops on burning rocks”. I thought it could be made into a film.  FRANÇOIS OZON And when one of my projects was delayed by production problems, I thought about this piece. I contacted Montherlant’s heirs to ask them if the rights to the play were available and they said yes. They were a bit surprised that I was interested in this unknown work. How did A CURTAIN RAISER come into being? A few years ago I was wandering round a bookshop and I came across Why make a short film today? a play by Montherlant with a title that immediately appealed to me: I was really in the mood for shooting something. And waiting for a “Fils de Personne”, (No one’s Son). I was intrigued and I bought it. But film to be set up when you’re not sure it’s really going to happen is when I started to read the play I was disappointed and almost fell asleep. always really disquieting. I needed to get out and work with actors and However, at the end of the collection there was another, shorter play regain a bit of the lightness I seemed to have lost. And it was a real around twenty pages long entitled “Un Incompris” (A Misunderstood pleasure to work for a week with a new crew that I’d never met before. Man). I fell in love with the story immediately and particularly with I’d forgotten just how many radical economic and aesthetic choices Pierre’s final monologue. The play seemed simultaneously funny, modern you have to make when you’re making a short film. Knowing that we and moving, whilst being written in a classical and poetic style, which only had five days to shoot in and a very limited amount of film stock elevated it from what might have been an otherwise mundane tale. brought back some happy memories. Why did you change the title? Because “Un Incompris” is already the title of a very beautiful film by Comencini and because there’s a continual reference throughout Montherlant’s text to performance, theatricality, genres (farce or drama), audience reactions and the critics. I actually learned what un lever de rideau - a curtain raiser - was through reading this play. It’s a little one-act play, often a comedy, written to be performed as a prologue to a play of more classical length and form. I liked the idea of a minor, light text and short films are the same thing as curtain raisers when they come before a feature in the cinema. Choosing this title was also a way for me to pay homage to short films, which I’ve done a lot of.

Weren’t you worried by the theatricality and the length of the speeches? I’ve always been interested in the idea of theatricality in the cinema and I’ve always thought that the effects of alienation weren’t an obstacle to identification. Of course, it demands definite choices, a special way of directing the actors and above all a lot of work to get over the difficulty of the language and make sure it’s understood. But that’s what excites be caught up in the story immediately. It was without doubt the me about adapting a play, this confrontation with a language that isn’t quickest bit of casting I’ve ever done. It was so obvious. Mathieu my own and that I try to appropriate through the bodies and voices. Amalric and Louis Garrel, in the male roles, both seemed to speak When I first got people around me to read the play they were sceptical. in ways that corresponded with the differences between the two They liked the story of the young man with his principles, but they characters. Mathieu enunciates very clearly, unlike Louis, who talks thought it was too theoretical and wordy. They said, “Are you sure it very quickly and often eats his words. I thought the two different will make a good film? It’s not very visual”. It seemed to me that, if we styles of delivery might be interesting when opposed to one another. had very good actors, we’d be able to bring the piece to life and touch As for Vahina, that’s an old story; I asked her to play a part in 8 people. The subject concerns everyone, anyone who, having been in WOMEN, but two weeks before we started shooting she confessed a relationship with someone, has found themselves confronted with that she was pregnant, and as a result she wasn’t able to do the film. dilemmas and compromises faced with the person they love. She was very upset about it at the time, and so was I. I promised her that one day we’d work together. How did you choose the actors? I needed experienced actors who could not only make the text The actors look very elegant in their costumes, which have a timeless air. understood but get beyond it, so that we weren’t constrained by it. For me, the film is about ideals, youth, purity and innocence and it The actors had to be able to speak the dialogue fluently, and at the immediately made me think of New Wave films. Rohmer of course, same time exist physically. I needed them to bring the text to life but, above all, the romantic films made by Godard in the 1960’s. on screen in a strong and sensual way so that the audience would I wanted a white apartment like the one in A WOMAN IS A WOMAN with a few bright colours that stood out like the green dress and the red blanket. The stylisation of the costumes, the set and the colours gives the film a timeless aspect. You don’t really know when it’s set. It’s like a world within itself inhabited by people from good families. We had a joke with the actors saying that Louis was our Jean-Pierre Léaud, Mathieu our Jean-Claude Brialy and Vahina our Anna Karina.

Did you change the original script? Yes, I cut and simplified some of the dialogue. More than anything else, in the play Bruno and Rosette don’t make love, they just kiss, and it’s from that moment that Bruno really decides to finish with her. It seemed to me that if they made love it added more force and modernity to the scene. On the one hand, there’s something cruel about it because Bruno knows he’s making love for the last time with her while she doesn’t, or doesn’t want to know. So it might be said he’s taking advantage of her. We might also wonder if this young girl wasn’t filming in Scope, a format I’d used before in TIME TO LEAVE and a virgin and that maybe this was her first time. On the other hand, it which, paradoxically, works very well with intimate scenes, verbal added another layer of ambiguity to the text and, above all, something sparring matches and characters’ internal conflicts. more dramatic. Montherlant saw “Un incompris” as a comedy and Bruno’s character was a bit ridiculous. I find it very moving, and it De Montherlant’s play is sub-titled “A Comedy in One Act”, but we can seemed crucial to me that we should understand his dilemma, that sense the drama lurking behind the comedy. Did you refuse to decide we liked him and followed his trajectory. The fact that he sleeps with between the two genres from the outset? Rosette gives his character more complexity and makes him more I think the film begins a little bit like a farce with a classic one woman, human. two men situation. At the beginning the discussion is light, almost playful. It could very well be a farce, but the end changes everything. Did you think how you were going to direct the film when you first read Montherlant didn’t want it to end as a drama, but it seemed important the play? to me that there was a real emotion at the end of the film, to show I wanted to try and film as many sequence shots as possible from the that the character followed his idea through to the end and therefore front with very few cuts. The main thing was to follow the characters inevitably to the very limits of suffering. The three characters gradually and not interrupt what they were saying. It was a dangerous choice take on different dimensions to the archetypes we see them as at the from the very beginning because the dialogue was difficult for the beginning. They suffer and, during the space of an afternoon, go through actors. But it seemed to me that it was the best way to really focus an experience that changes them and makes them deeper than they seem on the text and make it clear. Then there was the fact that we were to be at the start. The film tackles the theme of punctuality. How are you about time-keeping in general? I’m personally fairly punctual, and I’m not a “manic clock-watcher” like Bruno. But I’m not as intransigent as Montherlant, who’d suddenly break off an affair because of someone being late. In theory, I find the time you spend waiting for somebody in a love affair exciting, because it favours all sorts of contradictory feelings, which can often reveal a great deal about our inner feelings. They can go from desire to hatred and include contempt or a form of masochism. But it’s harder to have this kind of distance in your work, particularly when you’re making a film and each second costs money. INTERVIEW WITH  MATHIEU AMALRIC

What was it that attracted you to the idea of making a short film adapted from a de Montherlant play? As I read the play, I discovered a somewhat forgotten author with an outdated way of writing, and a script that asks the question “should you live with principals or not?”. I liked the idea of embarking upon a project which, on the face of it, seemed bizarre and out of fashion, in which the modernity isn’t obvious as it is in works by frequently staged playwrights like Musset. In this it was up to the actors, with the help of the director, to create and invent the modernity during the filming. So you didn’t really know what you were getting involved in?. After a while the language becomes fairly familiar. It’s like muscles; you Louis and I were scared stiff, but when I saw the film, I thought, have to train them, do push-ups. It was important to respect the text, “Hey, it’s good”. It deals with the same problems young people might not to add an “er” or a “then”. You have to try not to be in something have today: so and so arrives late, she loves thingummy Deep down, naturalistic, which, bizarrely enough, seems extremely naturalistic after there’s something as trivial about the whole thing as the TV show “Big a while. It’s really amazing. Brother” with stories that don’t seem to be of much obvious interest. One character says, “If she’s late, hell, I’m dumping her!” and the other You seem to find it easy to be an actor. one says, “Wait a bit, don’t get into such a state”. It’s all just a question Maybe that’s because I never thought of becoming one. I didn’t train as of pride. Except that from the second line, you’re saying, “These people an actor. Sometimes I’m quite stunned when I manage to say the words are talking really weirdly”. It’s dangerous to say these lines today. in the right order and see that my brain’s capable of controlling my François Ozon likes to take risks and so do I. If there’s no risk involved, tongue. I’m not saying this through affectation. I get more and more I’m not interested. frightened before I start work on a film. Before, I used to say to myself, “It’s not me taking the risks, you know I’m not an actor”. But since I’ve How did you approach such a difficult script? carried on working in this profession, I can’t think that way any more You have to learn the lines down to the very last comma otherwise when I’m in front of a director. Now I’m taking the risks too. they’re not funny. I read the script several times, I say it out loud and then I type it all out on the computer. I find out how the sentences How did you get on with François Ozon? are structured and then afterwards I write the lines out by hand to I was very curious to see how the “fastest camera in the West” worked! learn them and I say them all the time, on my scooter, in the shower It’s very mysterious to me. He’s curiously calm. He’s the reverse of those directors who hang about for ages. He goes about the problem the other Your character, Pierre, is homosexual, which isn’t the case in the original. way - he gets nervous when he isn’t shooting. And it creates a kind of Yes, it comes from one word: “When I’m waiting for a man”. That’s all. openness, because shooting the film isn’t dangerous for him. He’s ready to It was really important that I didn’t signal or stress that word. It had to accommodate the accidents that happen on a shoot. He likes to discover seem natural. François and I talked about it, but in the end we didn’t things while he’s filming, to let a bit of mystery happen. He doesn’t try to do the version where I say “When I’m waiting for a girl”. We needed be bigger than the film. There are things that happen by chance that he to decide whether there was any competition between Bruno and is able to use. For example, my character’s beard, his hirsute side. Pierre over Rosette or if, on the contrary, we should favour a kind of ambiguity between the two boys. Maybe Pierre is attracted to Bruno. That wasn’t planned. What does it say about your character? We can wonder about that. On the first day of filming I turned up badly shaven and François said “Why don’t you stay like that”. When I saw the film I immediately felt Whatever the case, he gives him advice and gives him the benefit of his the incredible difference between the beauty of the young couple and experience. my character who’s a bit stooped, a bit wrecked. Bruno and Rosette Yes, he’s kind of like Bruno’s instructor. He’s had to bring him out, teach look like Greek statues. They have alabaster skins, because they haven’t him about life, because he’s been through the same things. He knows yet abandoned their principles. But my character has abandoned some what the younger characters are feeling. He’s probably said to himself: of his principles, because life’s like that. You can’t go on living in an ideal “I don’t give a damn about glory, I will only have pure friendships, I’m world. He survives through a sort of cynicism, which has made him only going to sleep with women or men that I love”. All those things into this toad, this statue covered with moss. The physical difference is that are so deeply moving when you’re young. He looks fondly upon really striking. We hadn’t thought of him having a beard. Bruno, but at the same time he must be saying, “You’ll see, mate”. My character, who also has a Scapinesque side to him, takes part in his That’s what’s squalid about love, when an incredible moment falls friend’s initiation. He describes the stage he’s going through for him. apart right after the physical act. My character expresses a more complicated desire, which is corrupt because he is a few years older As if he were a cynic at heart? and he’s already been stabbed in the heart a few times. No, he’s just abandoned his principles, he’s aged. In the first part, he copes by being offhand, like a dandy, by his way of being detached from the world. But this detachment turns out to be false in the last scene, where there’s a kind of sadness and the sensation that he’s suddenly concerned by what’s happening.

In your last speech, Pierre tries to console Bruno by saying that Rosette will come back and it will all have been nothing but a classic lovers’ tiff. Is that the moral of the story? The script and the film are neither moralising nor moralistic, because the ending’s left open. Bruno says, “We’ll see”. A question has been asked, but there’s no one being punished because he’s acted badly. What I think we should really remember is the bliss shared by Bruno and Rosette. They make love, there’s a possession and a strong feeling of desire between them, which they convey really well to the audience. INTERVIEW WITH  LOUIS GARREL

You’re used to acting in the theatre, but how do you prepare for a film role when there’s so much dialogue? It’s true that at the beginning, there were so many lines they made my head spin, and I think it may have been the same for Mathieu. I don’t think I’ve ever had so much to say before, even in a feature film. But the unique thing about this piece is that it’s extremely well structured. The writing is very pure and very fluid. I soon realised that the emotions would come by themselves, that I just had to know the lines really well. I was just afraid that the text would become a kind of third character, by that I mean something external. I had to both respect the text, because This role was radically different to the one you played in LES AMANTS the character’s thought process is revealed in the words and you can’t RÉGULIERS, in which your character was much more ethereal and betray that, and at the same time not be too reverential, not venerate it contemplative. too much, otherwise people would end up not understanding. Yes. It’s the first time I haven’t dreamed of being the character I played. In the film, it’s said that he’s someone from another age, and How did you work with François? I wondered what that meant. I get the impression that Bruno doesn’t Once I’d read the script, I said to François: “It’ll be good if we do it, really exist, or rather that the tragedy of this young man is that he’s but we’ll have to rehearse it first”. So we read through it a few times living in a world that doesn’t fit his morals. and did a couple of rehearsals. When your shooting a film, François pretty much lets you get on with it. The actors are pretty free. But Does it seem improbable to you that someone would risk losing their lover when you’re shooting a film adapted from a stage play, you have to bear because of their lack of punctuality? in mind that you have less freedom as an actor. The fact that you’re I’m always late, and the moment that I’m not where I should be when learning the lines makes you much more obedient. I should be is a moment outside the law, it’s really great. I think it’s linked to selfishness, the idea that maladjusted people can get away with You were performing on stage at night. Did that help? anything. Bruno sticks to his principles. It’s a kind of moral intransigence. I was very tired! Acting day and night is a bit like having amnesia or He doesn’t believe that men and women can be two completely separate being in a kind of daydream. You don’t really know what you’re doing beings. He’s intolerant in a certain way. He doesn’t want Rosette to have any more. You avoid thinking about it too much. any secrets from him, he wants her to be a duplicate of himself, someone who thinks the same way he does. He can’t understand that, by being If he breaks up with someone he loves, then Bruno is a tragic character. late, she isn’t trying to slight him but to charm and seduce him instead. La Rochefoucauld said that we get bored with people who resemble us and irritated with the rest. Bruno gets irritated because he has a Is Bruno crazy, as Rosette says at the end when she becomes infuriated with certain idea of love, which is where the tragedy comes in, because he’s his obsession? in an irreconcilable three-way relationship. There’s him, his muse and There’s a sentence in a book by Flaubert, I think, that reads, “Are you between them, love. This god, Love, which he has to respect in its pure, foolish or crazy? Your pride would make you say you’re crazy”. Bruno’s a ideal form. bit proud, so he’d probably say that he was crazy. I think his pride comes from the fact that he sees someone arriving late as a personal affront. He Despite the tragic ending to the film, there’s also an element of farce. thinks the time he spends waiting is time that belongs to him and that It’s true that there is a comic dimension to the film - the scene in by abusing this time she’s abusing him and his love. At the same time, his which I hide in the bathroom, for example. I’ve never played Feydeau, argument stands up. You might think he’s being reasonable. but I’d love to, so I said to myself, “Play it like Feydeau”. But the failure of the relationship, if there is a failure, is less desperate for the It’s hard to come to a decision, just as it’s hard to say if Bruno and Rosette audience because the break-up happens because the guy’s so stubborn will get back together again. and not because of a social reason, such as the character being poor That’s the advantage and the disadvantage of being a passionate man. or sick, or her leaving him for someone else. Love is impossible here Going crazy because the person you love turns up late is proof of love, but because of one man’s stubbornness. I get the feeling that there’s a at the same time letting the same person go for the same reason is a terrible lesson to be learned from this story, as there is a proverb or in a fable failure. Bruno is extremely passionate and passions are doomed to failure. by La Fontaine. INTERVIEW WITH  VAHINA GIOCANTE

How did François Ozon present the project to you? I’d already met François several times and we’d almost worked together on a feature film. I’d wanted to work with him for a long time. He didn’t give me many details about A CURTAIN RAISER, at the beginning. He just said he wanted to bring three actors together behind closed doors. I love his way of surrounding everything in an aura of mystery. And then he presented it to me as a game, as an experiment for us to try out together. He asked me if I’d enjoy having a go at it and I immediately said yes.

The film you almost made with him was 8 WOMEN. It’s a coincidence that A CURTAIN RAISER is also adapted from a stage play. Yes, it’s funny, I hadn’t made the connection. But in this one I’m the only woman surrounded by two very handsome men. In the end, it was all for the best! Louis Garrel and Mathieu Amalric are both incredible short passage in a woman’s life when she realises that a love affair isn’t actors. In the film, they manage to captivate us despite the difficulty a straightforward thing. Through this experience, Rosette stops being of the language. In their mouths, the text takes on a magical, poetic a child and suddenly becomes much harder. dimension. Rosette is an ambiguous character. She’s both naive and seductive. And your character, Rosette? She’s calculating, because she’s not always very honest with him, It was a bit different for me, because Rosette’s dialogue is much less but I don’t think she consciously wants to hurt him. As for being complicated. Compared with the two other characters, Rosette is seductive, it’s perhaps the only way she knows how to express herself. much simpler, much more instinctive and more spontaneous. She She titillates Bruno’s paranoia for her own amusement. She isn’t has a rather silly side, particularly at the beginning when she arrives clever enough to make Bruno suffer deliberately and at the end of the with her plaits. It’s at the end that she really comes in to her own, film she really suffers herself. It’s important that the audience should when she rebels. make up it’s own mind about Rosette. She may be a barefaced liar, but she’s touching. It’s one of the things Bruno fell in love with her Does your character evolve both physically and mentally? for and we can understand her annoyance and exhaustion. Yes, during the film Rosette gradually learns how to be a woman. Rosette says at one point “I’m fed up with dealing with a madman”. Is she At the beginning she’s as light as a butterfly. She doesn’t really a victim of Bruno’s madness? understand what’s happening between her lover and herself. Deep down, she obviously thinks that things aren’t really as bad as all that. People often say women are complicated, but this film turns the cliché And then things get more complicated and she enters that extremely on its head. Here, it’s the reverse. Bruno creates complications by his obsessive refusal to accept people’s lateness. At the same time, I didn’t Rosette also brings a comic element to the film with her dress and her want to make Rosette Bruno’s victim. It was important to me that hairstyle. we didn’t say “Poor sweet little thing, being chucked out like that”. What’s funny is that you get the impression that all the characters The problem in a love affair is that we always lay the blame for its are acting in different plays. Rosette arrives from a comedy and finds failure on the other person, when both parties are really at fault. Bruno herself plunged into the Greek tragedy being enacted by Bruno. She and Rosette are equally responsible for their relationship. They’re both doesn’t understand what’s happening to her. As for Rosette’s costume responsible, but not guilty. and hairstyle, François knew exactly what he wanted. He did my plaits. And they’re not very well done either, they look a bit weird as if Because she also participates in the power struggle that goes on between the they’re done in a great hurry, but that goes very well with the character couple? and her Pippi Longstocking side. They are two young people who are trying to find themselves and this is part of learning about love. A couple probably reaches maturity Are you always late, like Rosette? when it gets to the stage when we no longer need to measure ourselves No. I’m most definitely the only one of the team who arrived on time against one another or when we understand that it’s pointless because, for every appointment. I actually said to François that Rosette was a in any case, we’re radically different or complementary. Rosette and real character part for me. I know the cliché of the actress who always Bruno haven’t understood that. In the end, the film shows that the arrives late, but quite frankly, I hate clichés as much as I hate keeping characters only really get on when they’re in bed together, when it’s people waiting. their bodies that are talking. Then they’re like a pair of lovers who are attracted to each other although their minds contradict each other and they have completely opposite views on life. FILMOGRAPHY  FRANÇOIS OZON

2006 A CURTAIN RAISER 2005 TIME TO LEAVE 2004 5X2 2003 SWIMMING POOL 2002 8 WOMEN 2001 UNDER THE SAND 2000 WATER DROPS ON BURNING ROCKS 1999 CRIMINAL LOVERS 1998 SITCOM 1997 SEE THE SEA FILMOGRAPHY  MATHIEU AMALRIC

Actor 2006 A CURTAIN RAISER by François Ozon LE GRAND APPARTEMENT by Pascal Thomas LA QUESTION HUMAINE by Nicolas Klotz ACTRICE by Valeria Bruni-Tedeschi CAPITAINE ACHAB by Philippe Ramos UN SECRET by Claude Miller FRAGMENTS SUR LA GRÂCE by Vincent Dieutre 2005 MICHOU D’AUBER by Thomas Gilou MARIE-ANTOINETTE by Sofia Coppola MUNICH by Steven Spielberg J’AI VU TUER BEN BARKA by Serge Le Péron COMME JAMES DEAN by Jonathan Zaccaï 2004 LA MOUSTACHE by Emmanuel Carrère 1998 LATE AUGUST, EARLY SEPTEMBER by Olivier Assayas LE PONT DES ARTS by Eugène Green ALICE AND MARTIN by André Techiné AU LARGE DE BAD RAGAZ by François-Christophe Marzal 1997 ONLY GOD SEES ME by Bruno Podalydès LES PARALLÈLES by Nicolas Saada ON A TRÈS PEU D’AMIS by Sylvain Monod 2003 KINGS & QUEEN by Arnaud Desplechin 1996 GENEALOGIES OF A CRIME CRIME by Raoul Ruiz MY CHILDREN ARE DIFFERENT by Denis Dercourt MY SEX LIFE... OR HOW I GOT INTO AN ARGUMENT 2002 A SIGHT FOR SORE EYES by Gilles Bourdos by Arnaud Desplechin UN HOMME, UN VRAI by Jean-Marie Larrieu 1995 TOM EST TOUT SEUL by Fabien Onteniente LULU by Jean-Henri Roger DIARY OF A SEDUCER by Danièle Dubroux 2001 SPECIAL DELIVERY by Jeanne Labrune 1993 LETTER FOR L... by Romain Goupil SHIPWRECKED ON ROUTE D17 by Luc Moullet 1992 THE SENTINEL by Arnaud Desplechin MONDAY MORNING by Otar Iosseliani THE BUTTERFLY HUNT by Otar Losseliani BOYHOOD LOVES by Yves Caumon 1984 FAVORITES OF THE MOON by Otar Losseliani 2000 ROLAND’PASS by Jean-Marie Larrieu THE MARCORELLE AFFAIR by Serge Le Péron 1999 ZAIDE, UN PETIT AIR DE VENGEANCE by Josée Dayan Director FALSE SERVANT by Benoît Jacquot 2003 PUBLIC AFFAIRS FAREWELL, HOME SWEET HOME! by Otar Iosseliani 2001 WIMBLEDON STAGE 1998 TROIS PONTS SUR LA RIVIÈRE by Jean-Claude Biette 1997 MANGE TA SOUPE FILMOGRAPHY  LOUIS GARREL

2006 A CURTAIN RAISER by François Ozon ACTRICE by Valeria Bruni-Tedeschi DANS PARIS by Christophe Honoré 2004 CALL ME AGOSTINO by Christine Laurent LES AMANTS RÉGULIERS by Philippe Garrel 2003 MA MÈRE by Christophe Honoré 2002 THE DREAMERS by Bernardo Bertolucci 2001 THIS IS MY BODY by Rodolphe Marconi 1989 EMERGENCY KISSES by Philippe Garrel 1988 LES MINISTÈRES DE L’ART by Philippe Garrel FILMOGRAPHY  VAHINA GIOCANTE

2006 A CURTAIN RAISER by François Ozon 2005 LILA SAYS by Ziad Doueiri U by Grégoire Solotareff RIVIERA by Anne Villacèque 2004 NUIT NOIRE 17 OCTOBRE 1961 by Alain Tasma 2003 ELENA’S GIFT by Frédéric Graziani 2002 BLUEBERRY by Jan Kounen 2001 ALIVE by Sandrine Ray 2000 BELLA CIAO by Stéphane Giusti LES FANTÔMES DE LOUBA by Martine Dugowson 1999 THE LIBERTINE by Gabriel Aghion 1998 KEEP IT QUIET by Benoît Jacquot STOLEN LIFE by Yves Angelo 1997 MARIE FROM THE BAY OF ANGELS by Manuel Pradal BRUNO...... LOUIS GARREL ROSETTE...... VAHINA GIOCANTE PIERRE...... MATHIEU AMALRIC

SCREENPLAY...... FRANÇOIS OZON FROM “UN INCOMPRIS” BY HENRY DE MONTHERLANT (GALLIMARD)

CINEMATOGRAPHY...... YORICK LE SAUX PRODUCTION DESIGNER...... SÉBASTIEN DANOS ET ÉTIENNE MERCIER ...... PACO CUEVAS COSTUME DESIGN...... PASCALINE CHAVANNE - LOUISE HAMEL ET SAMIR N’KHI SOUND...... LAURENT BENAIM ET STÉPHANE VIZET CONTINUITY...... ANNICK REIPERT MAKE-UP AND HAIRDRESSER...... SYLVIE LONCHAMP SET PHOTOGRAPHER...... JEAN-CLAUDE MOIREAU EDITOR...... MURIEL BRETON SOUND EDITOR...... BENOÎT GARGONNE SOUND MIXER...... BENJAMIN VIAU PRODUCER ...... CÉCILE VACHERET

INTERVIEW BY MATHIEU HIPPEAU  MUSIC

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