The film was a production of the early 2000s French erotic TV scene, with a cast and crew largely known for their work in the genre.
Released in 2002, Étranges exhibitions fits into a specific niche of French late-night television networks (such as M6 or Canal+), which frequently broadcast soft-core erotic dramas, thrillers, and romances during this period. 1. Paranoia vs. Reality
" (Strange Strangers) : A famous poem by Jacques Prévert, often referenced in various collections or exhibitions. Benjamin Biolay
As the curtains rise on the 14th edition of Paris’s most revered celebration of the bizarre, , attendees are greeted not just by flickering reels of celluloid, but by the stark, unsettling stillness of Benjamin Beaulieu’s photography.
The centerpiece, however, was a machine Beaulieu called L’Automate à Regret . It was a crank-operated diorama. For two Euros, visitors could turn a brass wheel. Inside a mahogany box, tiny mechanical figures would reenact a memory—not a universal one, but a specific memory drawn from Beaulieu’s own childhood: a dog hit by a snowplow, a mother crying at a kitchen table, a birthday cake melting in the rain.
The narrative of Étranges exhibitions blends corporate mistrust with underground romantic encounters.
Behind the scenes, the film is a co-production directed by and Laurent Lévy . The screenplay was a collaborative effort by Céline Guyot, Martin Guyot, and Philippe Carcout, who also contributed to the adaptation. The film's score was composed by Jacques-Emmanuel Rousselon (credited as Jack Russel), and Markus Walman handled the cinematography.
Seeking advice, Rachel confides in her roommate Amanda (Maud Kennedy). Together, the two women decode the note, which points to a mysterious physical address. Expecting to uncover an industrial espionage ring, they trail Carole to a covert night meeting. Instead of a corporate betrayal, they discover an underground voyeuristic club run by a enigmatic host. Rachel watches in astonishment as her reserved daytime secretary transforms into a dominant stage performer, subverting the corporate hierarchy and shifting the film's trajectory from a corporate thriller into an exploration of hidden desires. Director Benjamin Beaulieu and Context
The film was a production of the early 2000s French erotic TV scene, with a cast and crew largely known for their work in the genre.
Released in 2002, Étranges exhibitions fits into a specific niche of French late-night television networks (such as M6 or Canal+), which frequently broadcast soft-core erotic dramas, thrillers, and romances during this period. 1. Paranoia vs. Reality
" (Strange Strangers) : A famous poem by Jacques Prévert, often referenced in various collections or exhibitions. Benjamin Biolay
As the curtains rise on the 14th edition of Paris’s most revered celebration of the bizarre, , attendees are greeted not just by flickering reels of celluloid, but by the stark, unsettling stillness of Benjamin Beaulieu’s photography.
The centerpiece, however, was a machine Beaulieu called L’Automate à Regret . It was a crank-operated diorama. For two Euros, visitors could turn a brass wheel. Inside a mahogany box, tiny mechanical figures would reenact a memory—not a universal one, but a specific memory drawn from Beaulieu’s own childhood: a dog hit by a snowplow, a mother crying at a kitchen table, a birthday cake melting in the rain.
The narrative of Étranges exhibitions blends corporate mistrust with underground romantic encounters.
Behind the scenes, the film is a co-production directed by and Laurent Lévy . The screenplay was a collaborative effort by Céline Guyot, Martin Guyot, and Philippe Carcout, who also contributed to the adaptation. The film's score was composed by Jacques-Emmanuel Rousselon (credited as Jack Russel), and Markus Walman handled the cinematography.
Seeking advice, Rachel confides in her roommate Amanda (Maud Kennedy). Together, the two women decode the note, which points to a mysterious physical address. Expecting to uncover an industrial espionage ring, they trail Carole to a covert night meeting. Instead of a corporate betrayal, they discover an underground voyeuristic club run by a enigmatic host. Rachel watches in astonishment as her reserved daytime secretary transforms into a dominant stage performer, subverting the corporate hierarchy and shifting the film's trajectory from a corporate thriller into an exploration of hidden desires. Director Benjamin Beaulieu and Context
Контакты:
Бережковская наб., д. 30, корп. 1, Москва, Г-59, ГСП-3, 125993, РФ
E-mail:
Тел.: +7 (499) 240-6015, факс: +7 (495) 531-6336
Время работы:
Режим рабочего времени ФИПС:
Понедельник - Четверг: 9:30 – 18:15
Пятница: 9:30 – 17:00
Суббота, воскресенье, нерабочие и
праздничные дни – выходные дни.
