Laurent Perrin

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Tom Canty is a poor English boy who bears a remarkable resemblance to Edward, Prince of Wales and son of King Henry VIII. The two boys meet and decide to play a joke on the court by dressing in each other's clothes, but the plan goes awry when they're separated and each must live the other's life.

Maurice Hartmann, a Parisian academic, annoys his young mistress with his cynical and disillusioned words and the void of his existence. The proposal of one of his students upsets his life: the young Kiyoshi offers him to taste his assortment of sushi and sashimi. In front of the delighted face of his teacher, Kiyoshi proposes to him to set up a small business of takeaway sushi for busy Parisians. Enthusiastic, Maurice struggles to find funding, and the "Sushi Express" gets off to a great start. But, after a good start, the small business stagnates ...

Jean and Julie meet again ten years after childhood. Jean has trouble recognizing the grown up girl. Julie is "promised" to Henri, a neighbor. Julie, scathing and capricious, provokes Henri and Jean.

Grégoire Canvel has everything a man could want. A wife he loves, three delightful children, and a stimulating job. He's a film producer. Discovering talented filmmakers and developing films that fit his conception of the cinema-free and true to life-is precisely his reason for living. Yet his prestigious production company, Moon Films, is on its last legs.

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Feckless aspiring architect Stéphane leaves his pregnant girlfriend for theater designer Sabine; Sabine in turn vainly attempts to overcome her violent obsession with an actor in her theater company. A game of emotional chutes and ladders ensues.

Christian is forty years old. Alone, he tours Paris and its suburbs on foot in search of a job, but cannot find one. He gives up his search, but continued to walk aimlessly until he is exhausted.

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A “Cinéma, de notre temps” series episode directed by french film filmmaker Laurent Perrin, originally aired 8 February 1995.

A bittersweet drama covering 30 years in the lives of group of friends united by their devotion to the theatre, 30 Ans begins in Paris in 1974, when Aurelian, his girlfriend Barbara, and childhood friend Antoine form a theatre. Taking the plight of Pinochet's oppressed Chile as its cause, the theatre attracts the involvement of Jeanne, a young actress who immediately sparks the attentions of both Aurelian and Antoine. When Chilean dissident actor Luis is brought to the theatre by Barbara's diplomat father, Jeanne falls in love with him, and the two carry out an affair that ends when a sudden development causes Jeanne to disappear. 8 years later, Aurelian has a new girlfriend and is directing a travelling troupe, and Antoine is a high-priced image consultant who gets his old friend a gig at Dunkirk. Aurelian, deeply immersed in a mid-life crisis, still loves Jeanne, continuing to carry a picture of the enigmatic actress in his wallet and writing about her in his diary.

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

In a somewhat deflated story of robbery and deception set against the rooftops and byways of Paris, a group of enterprising petty thieves take advantage of the dog days of August to burglarize vacated apartments. At this time of year, all Parisiens are on vacation elsewhere, and the city is invaded by tourists on vacation from their own cities. In this mass rearrangement of the European population, the thieves get away with their looting until they run into an architect who catches them in the act. But his morals are nothing to brag about, as he gets more involved in what they are doing and wants some of their take. He is also smitten with one of the down-and-out women the thieves have been supporting (Dominque Laffin). As in so many French dramas, these conflicting relationships are doomed to be resolved only by tragedy.

Footage from 2005’s Festival Art Rock in Saint-Brieuc, France, featuring Metric, Sonic Youth, Jeanne Balibar, and other acts.