César Baldaccini

Celluloid and Marble is based on Rohmer's own articles published in "Cahiers du cinéma", discussing film in relation to the other arts, maintaining that, in an age of cultural self-consciousness, cinema was “the last refuge of poetry” - the only contemporary art form from which metaphor could still spring naturally and spontaneously.

Jeanne, a little secretary dreaming of love, meets Alain, a reporter-photographer with a major daily newspaper. He takes her along on his professional nocturnal activities, during which she meets a host of celebrities. One evening, Alain takes photos of the kidnapping of a diplomat, and is followed by a mysterious individual who wants the film back. Alain falls in love with Jeanne. Their embrace is passionate. During the night, he manages to get rid of the follower, then receives a new assignment: to leave for Colombia as soon as possible. He sacrifices his love for Jeanne to his ambition, and she waits in vain for him before returning to her dull life.

In 1971, Jean-Daniel Pollet & Guy Seligmann directed for French TV a documentary about French artist César Baldaccini. It was part of L'invité du dimanche show.

Monsieur Hulot, Jacques Tati’s endearing clown, takes a holiday at a seaside resort, where his presence provokes one catastrophe after another. Tati’s masterpiece of gentle slapstick is a series of effortlessly well-choreographed sight gags involving dogs, boats, and firecrackers; it was the first entry in the Hulot series and the film that launched its maker to international stardom.