Xavier Lafitte Movies

A youthful foreigner sits sketching the diners of an outdoor café in hopes of finding the women he met there years before in director José Luis Guerín's languid, sun-soaked tale of longing. It was a long time ago that the artist met a mysterious beauty named Sylvia, and the memory of the girl has lingered in his mind ever since. Perhaps if he can capture the movements of the patrons in this quaint European café he can recognize the woman he seeks. Then, at once, the artist believes he has found Sylvia. Setting out into the streets in pursuit of a fading memory, he vows that this time he won't let love slip through his fingers. ~ Jason Buchanan, Rovi

A seemingly ideal marriage is thrown into embarrassing turmoil in Patrice Chéreau's period drama, Gabrielle. Based on the short story The Return by Joseph Conrad, the film opens with Jean (Pascal Greggory) extolling the virtues of his pretty wife, Gabrielle (Isabelle Huppert), in voice-over as he makes his way home from work. Jean and his wife, with help from their team of servants, have fostered the illusion of a perfect bourgeois household. Jean is particularly happy with the way Gabrielle presents herself at the couple's frequent dinner gatherings, attended by their "set," whom, as he describes them, "fear emotion and failure more than war." We see glimpses of these occasions in flashback, while Jean explains of his wife, "I'm proud of what she is -- impassive." The secure little world he's fashioned for himself is shattered when he arrives home and finds a note from Gabrielle, explaining that she's leaving him. "It's terrible, and right," the missive states. After a brief explosion of rage, Jean tries to compose himself, but he's thrown into chaos again when Gabrielle unexpectedly returns home. She finds it impossible to speak to Jean. "This letter is not the worst of it?" he asks her. "The worst is my coming back," she explains. The two struggle bitterly to regain the balance in their relationship. Soon, in the interest of appearances, another dinner party is planned. Gabrielle, switches from black-and-white to color and back from scene to scene, and is also notable for its intriguing use of intertitles. It was adapted by Chéreau and his frequent collaborator, Anne-Louise Trividic, and was shown at the 2005 New York Film Festival, presented by the Film Society of Lincoln Center. ~ Josh Ralske, Rovi