A few months before he died, Jean-Louis Comolli meets up with Dominique Cabrera for some free conversations with Isabelle Le Corff. They talk about cinema, life, love, death and Chassagne-Montrachet wine. There is laughter and smiles. One is not really serious at the age of eighty.
Set in the summer of 1942 during WWII, the film traces the trajectory of simple people thrown into extraordinary lives, revealing the heart-warming flame of hope and humanity that endures, even in times of war and dispair. As young Julien, his family and a group of friends traverse the French countryside after fleeing the institution they called home, Julien must deal with his father's extreme violence and his mother's rosy fantasies and once again form a family that society tries to forget.
This movie tells the common fate of the meat workers in the big industrial slaughterhouses. At the beginning, we think that we are not going to stay. But we change only our post, department. We want a normal life. A house was bought, children were born. We obtine, we lean. We have pain in the daytime, we have pain at night, we have pain all the time. We hold on all the same, until the day when we do not hold on any more. The joints break, nerves also.
In 2002, on the occasion of her brother’s wedding, Dominique Cabrera begun to shoot the gathering, and decided to continue over 10 years, time imprinting its marks on her family and "becoming the film" as she expresses it. Halfway between Agnès Varda and Alain Cavalier, Dominique Cabrera delivers a sensitive film both intimate and universal: "Ten years ago, my brother Bernard got married for the second time. We all went to the wedding in Boston, where he lives. It felt as if we were four little children again with our mom and dad. I had brought along a small camera, which I began to use to film our family. I've continued to this day..."
"True Women" - About the Bark family and their daughter Berta, who will fight against the house patriarchal order, includes the same problem as "A Doll's House". But Berta, unlike Nora, remains in the house and becomes a daily threat against those who seek to oppress her.
