Nine short films concerning the same single subject: the distress over the love that comes and goes.
Pornoscopie, Jean-Claude Biette: The tribulations of a bisexual who’s a bit of an exhibitionist.
Enigme, Cécile Clairval: She cannot go home. She’s lost her keys. How come?
Remue-ménage, Jacques Davila: A couple in love unintentionally avenge themselves on a lonely, clumsy, improper landlady.
Sara, Michel Delahaye: Mathieu comes across Eva, a former actress he once loved. She now has a little daughter, Sara.
Passage à l’acte, Jacques Frenais: A young playwright finds a retired actress to whom he submits his new play.
Le goûter de Josette, Gérard Frot-Coutaz: An old couple go and visit the burial vault they ordered. Meanwhile, at Josette’s, a neighbour, wild gossip is going on at tea time.
La visiteuse, Jean-Claude Guiguet: A young woman is visited by a friend who tells her about her heartache. Which of the two women is the most upset?
Lourdes, l’hiver, Marie-Claude Treihou: In the deserted streets of Lourdes, in winter, an old man lost his wife. But what does he find: a nightmare or a miracle?
Masculins singuliers, Paul Vecchiali: A taxi driver picks up a transvestite in his cab. A discussion begins and eventually, the transvestite offers to pay the fare in kind. The taxi driver accepts, and they end up in the apartment of the transvestite. The taxi driver begins to express his desire with brutal violence…
Born in 1939, Jean-Claude Guiguet was a cinema critic in several magazines like Image et Son from 1970 to 1975 ; from 1975 to 1977, he wrote the cinema column in La Nouvelle Revue Française (Gallimard). He was Paul Vecchiali’s assistant on Femmes-Femmes (1974) and Change pas Demain (1975), set and costume designer on Jean-Claude Biette’s Le théâtre des matières. Les belles manières [was] his first long feature. –Quinzaine des Réalisateurs
Born in 1930, Paul Vecchiali, Cahiers du cinéma critic, actor and producer, has over the years created a highly original body of film that reflect his passions, the cinema of the 30s, the films of Douglas Sirk, Bresson and Hitchcock. Preoccupied with his independence, he has worked in a wide variety of genres: dramas verging on the fantastic, evocations of pornography and prostitution, and collaboration during World War Two. –Quinzaine des Réalisateurs