Géraldine Pailhas

1948 – Louis-Ferdinand Céline in Denmark, in exile, accused of collaboration with the Nazis during the occupation of the France. He is accompanied by Lucette, his wife and his cat Bebert.Read More »

When André, 85, has a stroke, Emmanuelle hurries to her father’s bedside. Sick and half-paralyzed in his hospital bed, he asks Emmanuelle to help him end his life. But how can you honor such a request when it’s your own father?Read More »

From Allmovie:
With Laurent Cantet’s Time Out (L’Emploi du Temps) as an inspiration, actress-turned-director Nicole Garcia’s fourth feature film, L’Adversaire, is a fictionalized account of what may have gone through the mind of real-life serial killer Jean-Claude Romand. Daniel Auteuil portrays Jean-Marc Faure, who, like Romand, had fooled his friends, family, and the bank for 18 years. Though those who knew Faure believed he was a physician employed by the World Health Organization in Geneva, he actually had no qualifications for the position, and had never held a real job. As part of the façade, Faure commuted to Switzerland daily, and obviously knew his way around the WHO. However, he had no job to perform there. Though he acquired an enormous overdraft at the bank, they believed he was a well-known doctor, and incorrectly assumed he would repay them shortly. Nearly two decades after his original untruth, Faure is nearly found out. Rather than enduring the shame of his long-time fraud, Faure opts to murder his wife, children, and parents. — Tracie CooperRead More »

A Chinese aphorism says that although the poet dreams he is a butterfly, it is perhaps instead the butterfly that dreams it has become a poet. In Le dos rouge, a famous filmmaker played by Bertrand Bonello searches for an image of the uncanny. An eccentric female art historian accompanies him through museums, where they examine and discuss numerous works of art. A metamorphosis gradually takes place, as red marks appear on the filmmaker’s back. It seems that gazing at all that monstrousness has brought about a transformation in the observer. Bonello, a victim of Stendhal Syndrome, gradually loses himself in his admiration of the sublime uncanny. When he is hypnotised by the artworks, he exudes a fascination as great as that of the objects themselves. It’s a pleasure to watch one artist gazing at another, for this film is a multi-layered mise en abyme. By creating a fictional portrait of an aesthete, Barraud subtly allows the paintings to enter into a dialogue with his newly created images. Artificiality meets art, and during the search for the ideal monster, a playful, aesthetic spell is cast.Read More »