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On this beautiful, bright first day of summer, Claire Darling has decided to get rid of all her estate. She’s laid down all her favourite objects on her front lawn for one splendid garage sale. As a horde of curious bystanders and neighbors fights over the ridiculously underpriced antiques, each object resurrects flashes of Claire Darling’s tragic and flamboyant life. Alerted by her childhood friends, Marie Darling, Claire’s estranged daughter, is forced to come back to the family mansion to stop this sale and unveil the reasons behind her mother’s eccentric decision.
The O'Neills lived happily in their house in the Australian countryside. That was until one day fate struck blindly, taking the life of Peter, the father, leaving his grief-stricken wife Dawn alone with their four children. Among them, eight-year-old Simone denies this reality. She is persuaded that her father still lives in the giant fig tree growing near their house and speaks to her through its leaves. But the tree becomes more and more invasive and threatens the house. It must be felled. Of course, Simone won't allow it.
The one joy in the lives of a mother and daughter comes from the regular letters sent to them from Paris from the family's adored son, Otar. When the daughter finds out that Otar has died suddenly, she tries to conceal the truth from her mother, changing the course of their lives forever.
In 1972, Madeleine de Sinéty moves to Poilley and spends ten years photographing rural life in a small village in Brittany undergoing rapid change. Her powerful body of work, a testament to a vanished world, now inspires filmmaker Julie Bertuccelli, who sets out to follow in Madeleine’s footsteps and rediscover why these photos move us so deeply.
Director Julie Bertuccelli paints Jane Campion’s portrait with great precision, humor and admiration, telling the tale of the first-ever woman to win the Palme d’Or in 1993.
Georgian director Otar Iosseliani prepares his film Jardins en Automne. Nothing is conventional in the filmmaker's system: Julie Bertuccelli portrays the gestation and production of a film that seems to follow the freest and most unpredictable poetic intuitions of its creator. The constant and hilarious arguments with the producer, Martine Marignac, a Michel Piccoli transformed into an old woman, and the director's peculiar filming system, in which he signals his actors to start with a whistle, paint a picture of one of the most unclassifiable cinematic experiences in contemporary cinema.
Nearly 30 years-old, Hélène still looks like a teenager. She is the author of powerful texts with corrosive humor. It is part, as she says herself, of a "badly calibrated lot, not entering anywhere". Her telepathic poetry speaks of her world and of ours. She accompanies a director who adapts her work to the theater, she talks with a mathematician ... Yet Helene can not talk or hold a pen, she has never learned to read or write. It when she turns 20 that her mother discovers that she can communicate by arranging letters on a sheet of paper. One of the many mysteries of the one that calls herself Babouillec ...
An intimate portrait of the small shops and shopkeepers of the Rue Daguerre in Paris, a picturesque street that has been the filmmaker’s home for more than 50 years.