The story begins on the autumn of 1654 in South France. Eloise lives in a cloister. Her famous father left her there. The young lady is enthusiastic about honour, faithfulness, affection to the poor people, and life of course. She seems powerless when the leader of the nuns is executed because she tried to save an unlucky servant who escaped from odious Crassac and his evil Muse, the Red Lady. Eloise is seized with a fit of temper. —IMDb
One of France’s premiere directors, screenwriters, and producers, Bertrand Tavernier is renowned for making dramas encompassing themes as diverse as familial relationships, World War I, and contemporary social ills. Regardless of the subjects they explore, Tavernier lends his films great introspection and humanity, something that has established him as one of the French cinema’s more progressive and compassionate figures.
Born in Lyon on April 25, 1941, Tavernier grew up with a love of film and wanted to be a director from the age of 13. He was particularly influenced by such American directors as Joseph Losey, John Ford, Samuel Fuller, and William Wellman, and – during a spell at the Sorbonne, where he studied law – he became involved in the film industry as an assistant director for Jean-Pierre Melville. Tavernier became then a film critic and worked for prestigious publications as Positif and Cahiers du Cinema. His first feature film, L’Horloger de St. Paul (1974), received international… read more
Freda was born in Alexandria Egypt of Italian parents. Educated in Milan, he became a sculptor, then a newspaper art critic, and then began a career in film in 1937 in the areas of screenwriting and production supervisor. He moved to film direction in 1942, beginning a career that lasted some forty years. Resisting the strong neo-realism trend in post-war Italy, Freda (with Vittorio Cottafavi) continued to make films in the historico-spectacular style, at which he developed a considerable mastery. He was a pioneer in Italy of horror-fantasy films, especially with I Vampiri and L’orrible segreto del dottor Hitchcock. From there he went to melodrama and spy films, and even made one western. Strong on visual style, Freda’s films had popular appeal, and were usually commercial successes. Several are French or other European co-productions. Freda used a number of aliases during his career, including (as director) Riccardo Freda Riccardo Freda and Riccardo Freda and (as screenwriter) Riccardo… read more