Actor: Romain Goupil

Fat Girl

Anaïs is twelve and bears the weight of the world on her shoulders. She watches her older sister, Elena, whom she both loves and hates. Elena is fifteen and devilishly beautiful. Neither more futile, nor more stupid than her younger sister, she cannot understand that she is merely an object of desire. And, as such, she can only be taken. Or had. Indeed, this is the subject: a girl's loss of virginity. And, that summer, it opens a door to tragedy.

Godard Mon Amour

In 1967, during the making of “La Chinoise,” film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.

A Christmas Tale

When their regal matriarch falls ill, the troubled Vuillard family come together for a hesitant Christmastime reunion. Among them is rebellious ne'er-do-well Henri and the uptight Elizabeth. Together under the same roof for the first time in many years, their intricate, long denied resentments and yearnings emerge again.

Venus Beauty Institute

Aging beautician Angèle, already wounded by a long-ago romance, gets awkwardly dumped at a train station. Witnessing how she turns around a humiliating situation, younger sculptor Antoine becomes so smitten that he breaks up with his fiancée and sets out to win Angèle's heart. Meanwhile, Angèle attempts to quash the budding romance of her young co-worker, Marie, and a much older widowed client, despite their obvious rapport.

Room 666

During the 1982 Cannes Film Festival, Wenders asks a number of global film directors to, one at a time, go into a hotel room, turn on the camera and answer a simple question: "What is the future of cinema?"

Godard Cinema

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

His Mother's Eyes

A writer suffering from a lack of inspiration sneaks his way into the lives of a star television journalist and his lead ballerina daughter to write, unbeknownst to them, a non-authorized biography. Meanwhile, in Brittany, twenty-year-old Bruno, who lives with his parents, doesn't yet know the consequences that this story will have on his existence...

Rien dans les poches

25 years of the life of Marie, a Parisian party girl, first teenager leaving her mother at 17, then short star of the song, and finally mother of a teenage girl, Esther, who flees as she fled her mother.

Hands in the Air

March 22, 2067. At dawn of life, Milana remembers her life, when she was a young Chechen immigrant in Paris, struggling for a better life along with her school friends.

À mort la mort !

The idea for this film about a generation and its lost ideals came to Romain Goupil after attending several funerals of friends in the fall of 1996, where the '68 generation, now in influential positions in media or politics, kept meeting each other. It seemed as if the revolution that they had tried to make was being buried with each coffin. A MORT LA MORT is in some ways an homage to this generation, now in their fifties. They were a privileged generation that thought that they could change the world, doing everything that their parents failed to do. There were no actual deaths in France as there were in Germany or Italy, but the system was not ideal for personal issues or for love. There was always a scapegoat for the injustices of the world, be it capitalism or imperialism. That way the blame could be placed somewhere else. Some of the '68 generation are still faithful to the principles of their youth and still continue to fight for the illusions of the past.

Les Jours venus

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10 mai 1981, le jour du grand soir

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