2009 biopic about the early life of Coco Chanel. Several years after leaving the orphanage, to which her father never returned for her, Gabrielle Chanel finds herself working in a provincial bar both. She’s both a seamstress for the performers and a singer, earning the nickname Coco from the song she sings nightly with her sister. A liaison with Baron Balsan gives her an entree into French society and a chance to develop her gift for designing.
Bertrand Beauvois, a well-known attorney, is in Monte Carlo to defend a businessman’s mother who murdered a gigolo with ties to gangsters. The businessman provides a bodyguard, Christophe, who is thorough and unsmiling. The middle-aged Beauvois is drawn to Audrey, in her 20s, free spirited, a local TV weather girl who once dated Christophe. Although Christophe warns Beauvois to stay away from Audrey, he’s hooked and spends every moment with her he’s not in court. What’s her angle: is she a plant who’ll ruin the case; is Beauvois her toy; is she digging for gold; or, is she genuine? Beauvois loves the wild sex but not her promiscuity. Has Christophe failed to protect him?
It’s December 1945, and the Second World War is finally over. Mathilde, a young French Red Cross doctor, finds herself in Warsaw treating the last of the French soldiers returning from the front. One night, a nun appears at the clinic, begging Mathilde to follow her back to the convent on urgent business. What Mathilde finds there is shocking: a holy sister about to give birth.
As Mathilde enters the sisters’ fiercely private world, secrets rise to the surface, and modernism and science clash with faith and tradition. The nuns go about their strict daily rituals, but inside the convent’s chilly stone walls, echoing with their melancholic chants, a dangerous revolution is taking place. [Synopsis courtesy of Sundance Film Festival]
Martin, an ex-Parisian well-heeled hipster passionate about Gustave Flaubert who settled into a Norman village as a baker, sees an English couple moving into a small farm nearby. Not only are the names of the new arrivals Gemma and Charles Bovery, but their behaviour also seems to be inspired by Flaubert’s heroes. [Synopsis courtesy of Toronto International Film Festival]