Franck Oger

Now Titus' father has died, the new emperor will be free to marry his beloved Bérénice. Also In love with Bérénice, Titus' friend Antiochus plans to flee Rome rather than face the marriage. However, public opinion about the pairing causes Titus to choose his duty to Rome over his love for Bérénice, and he sends his love rival to tell Bérénice the news...

A series of compounding dramatic situations, drawn from Georges Polti's '36 Dramatic Situations' and acted out in shadowplay and voiceover.

In Voyage of a Hand, Ruiz constructs another of his concentric labyrinths that hits us right in the multifaceted center of our confusion. We might decide that what we receive was a story full of intentions; or we might decide that it was a spineless joke empty of sense or direction. In any case, it will be difficult to deny the acid sense of humor that animates the film.

This quickly-filmed avant-garde farce by prolific director Raul Ruiz features an insomniac (Michel Lonsdale) whose main preoccupation is surreptitiously watching private matters -- he is a voyeur. He and an equally disreputable acquaintance rape a woman alongside the Seine, a crime made all the worse because she is pregnant. The rest of this slow-paced film deals with the consequences of that action.

During the century of the Spanish Gold, Doña Prouhèze, wife of a nobleman, deeply loves Don Rodrigo, who is forced to leave Spain and go to America. Meanwhile Prouhèze is sent to Africa to rule the city of Mogador. Ten years later Rodrigo leaves America and travels to Africa in search of Prouhèze to find out that she died and eventually meeting her daughter.

With his body now devoid of substance and able to fly, N. wanders looking for a way to return to life and reintegrate into the world.

Shortly after murdering his professor, a young man encounters a sailor who offers him a position on his ship in exchange for 3 Danish crowns and his attention as he recounts his life story.

Ruiz on the film: "I began La présence réelle (The Real Presence) first. I. N. A. had commissioned me to produce a personal vision of the Festival d'Avignon. This became a fiction about the theater because if I had filmed the actual performances at Avignon I would have had to respect their staging, I would not be able to change anything. As such, I wouldn't be doing anything more than a retransmission of Antenne 2 or FR3. And since a lot would have to be paid for rights to each play, it would end up costing as much as a fiction feature. So it is a story about the theater, a bit Rivette-ish. I shot all the exteriors in Avignon, the interiors in Paris a few days later and I finish the film next Tuesday."