Le Paradis (2014)
Directed by Alain Cavalier

Experimental

Film Synopsis

Alain Cavalier is a filmmaker who is having a hard time coming to terms with his own mortality.  To help him get to the essential truth of existence, and thereby acquire a measure of acceptance of the finiteness of his own life, he embarks on a special project in which he films everything he sees without order or preference.  As he does so, he make allusions to the myths and legends of the past - Isaac's sacrifice, Ulysses' odyssey, the crucifixion of Christ, and similar remarkable tales on which our culture is founded.  In attempting to address age-old concerns regarding the nature of faith and the purpose of existence, Cavalier is forced to confront his own demons - the depression that taunts him and the creative urge that will never leave him in peace.   Everything he films - be it a collection of trees, a random group of people or just some houses - seems to acquire a new significance, expressing something that he feels has lately been missing from his art.  Will Alain Cavalier find paradise on Earth, or is that one delight that is yet to come...?
© James Travers
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Film Credits


The best of Indian cinema
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Forget Bollywood, the best of India's cinema is to be found elsewhere, most notably in the extraordinary work of Satyajit Ray.
The best of Russian cinema
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There's far more to Russian movies than the monumental works of Sergei Eisenstein - the wondrous films of Andrei Tarkovsky for one.
The very best of the French New Wave
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A wave of fresh talent in the late 1950s, early 1960s brought about a dramatic renaissance in French cinema, placing the auteur at the core of France's 7th art.
The very best of German cinema
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German cinema was at its most inspired in the 1920s, strongly influenced by the expressionist movement, but it enjoyed a renaissance in the 1970s.
The history of French cinema
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From its birth in 1895, cinema has been an essential part of French culture. Now it is one of the most dynamic, versatile and important of the arts in France.
 

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