Béatrice Kordon

In an arrestingly filmed interview (with the questions omitted), Denis offers a spirited and insightful discussion of her films and career. She talks about her films, her career, the directors she admires - such as Renoir and Ozu - the writing of Frantz Fanon, and her convictions in regard to light, sound, montage, tracking shots, and the role of dialogue, which is subordinate to image in her films.

The film opens on a tale with animated figurines in miniature settings reconstructing Fida’s childhood during the war. It then shifts to a documentary style with a series of real confrontations between Fida and ex-militiamen manipulating the small figurines. The miniature material becomes a bridge between different subjective stories, infusing the collective history with individual details. The experience of this confrontational space turns out to be cathartic. The narrative moves around between realities and temporalities.

This atmospheric mini-seduction drama follows two beautiful French women who meet at a sidewalk café. What are they going to do together in that cheap Parisian hotel room?

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Dionysos-the-wine-master, son of Zeus and a simple mortal, half man, and half god, neither man nor god, all at once mortal and immortal, opens us to a world where identities are not obvious and times not linear.