The Beauty of the Real

From August 17 to 23, the Roxie presented a 14 film series called "The Beauty of the Real: A Celebration of Contemporary French Actresses!"  The series was programmed by San Francisco Chronicle film critic Mick LaSalle.  Some of the films in the series also played at the Smith Rafael but I don't recall which ones or how many films.

I saw 12 of the 14 films; all at the Roxie.  The two films I missed were Empty Days and 5x2.  I saw Emtpy Days at the 2012 Sacramento French Film Festival which LaSalle partially programmed.  I had not seen any of the 12 films before.

Anthony Zimmer starring Yvan Attal & Sophie Marceau; directed by Jerome Salle; French with subtitles; (2005)
Le Prix à Payer starring Christian Claiver & Nathalie Baye; directed by Alexandra Leclère; French with subtitles; (2007)
Le Petit Lieutenant starring Nathalie Baye; directed by Xavier Beauvois; French with subtitles; (2005) - Official Website
Entres ses Mains starring Isabelle Carré & Benoit Poelvoorde; directed by Anne Fontaine; French with subtitles; (2005)
Le Role de sa vie starring Agnes Jaoui & Karin Viard; directed by François Favrat; French with subtitles; (2004)
Le Cérémonie starring Sandrine Bonnaire & Isabelle Hupert; with Jacqueline Bisset; directed by Claude Chabrol; French with subtitles; (1995)
Post Coitum Animal Triste starring & directed by Brigitte Rouan; French with subtitles; (1997)
A nos Amours starring Sandrinne Bonnaire; directed by Maurice Pialat; French with subtitles; (1983)
Les Ambitieux starring Karin Viard; directed by Catherine Corsini; French with subtitles; (2006)
Alias Betty starring Mathilde Seigner & Sandrine Kiberlain; starring Claude Miller; French with subtitles; (2001)
Didine starring Géraldine Pailhas & Julie Ferrier; directed by Vincent Dietschy; French with subtitles; (2008)
Intimate Strangers; starring Sandrine Bonnaire & Fabrice Luchini; directed by Patrice Leconte; French with subtitles; (2004)

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The Beauty of the Real was one of the most satisfying film series/festivals I've attended.  Night after night, outstanding films were screened.  I was largely unfamiliar with the films although I was surprised at how many of the actresses I recognized.  There were healthy crowds too.  I predict there will be a follow up although the series was designed to promote LaSalle's (then) new book - The Beauty of the Real.  Towards the end of the series, I considered buying a copy of the book but they weren't selling them.  After the first or second day of the series, LaSalle was out of town.  He had prerecorded introductions to each film which would precede each film.

My favorite film was the last film I saw, Intimate Strangers.  Sandrine Bonnaire is Ana, an agitated housewife who goes to see a psychiatrist.  Taking a wrong turn on the floor, she enters the unmarked office of tax accountant William (Fabrice Luchini).  Assuming his secretary forgot to mark the appointment on his calendar, William invites Ana in to discuss her "problems."  Thinking he is a psychiatrist, she divulges intimate details of her marriage and sex life.  Stunned, William attempts to keep his composure but he is doesn't correct her mistaken assumption about his profession.

Attracted and intrigued by Ana, William allows the charade to continue over several sessions.  He even seeks advice from the psychiatrist down the hall who Ana was intending to see.  Some of the funniest scenes are between William and Dr. Monnier (Michel Duchaussoy) who begins to psychoanalyze Williams...and even bills him for it.

If the first half of the film is a comedy with romantic overtones, director Patrice Leconte mixes it up in second  half as Ana's life and motives are seen in a different light.  These plot twists (always with an undercurrent of black humor) are deliciously intriguing.  Intimate Strangers is the cleverest of films.  The audience never guesses the next step and is constantly entertained while Ana & William are peeled like an onion - remove one layer and there is another beneath until the end when I still wondered if there were more layers to them.

I'm becoming a big fan of Fabrice Luchini.  I had previously seen him in The Women on the 6th Floor.  A skilled comedian, Luchini is able to shift into dramatic scenes effortlessly.

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Le Prix à Payer (The Price to Pay) was a showcase for Nathalie Baye, an actress I've previously enjoyed in Beautiful Lies.  Jean-Pierre (Christian Clavier) and Odile (Baye) are a wealthy married couple whose marriage has become strained.  When Odile refuses Jean-Pierre amorous advances one time too many, he retaliates by disabling her credit cards and bank account.  He is tired of being treated as human ATM without enjoying any of the carnal aspects of marriage.  He agrees to restore Odile's access to funds if she will resume marital relations.  Thus begins a delightful sex farce which draws the chauffeur (Gérard Lanvin) and his girlfriend (Géraldine Pailhas) who represent the proletarian view.  I could go on but writing fatigue and time force me to cut this capsule short.

Géraldine Pailhas appeared in Didine, another film from the series which I liked.  A contrived romantic comedy, I would typically eschew this type of film.  Like Beautiful Lies (another contrived romantic comedy), it appears that what I reject in Hollywood films, I will accept in French films.  Didine works for me because Pailhas and Julie Ferrier's performances.  The younger Didine and older Muriel (Ferrier) start at odds with each other but become friends with Muriel imparting some lessons on life along the way.  Even one sentence description sounds clichéd.  Sometimes the performances in a film (and one's latent Francophobia) can overcome a tired script.

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So I enjoyed the comedies but most of the films were more serious.

Le Petit Lieutenant and Le Cérémonie were the most well known films in the series.  The eponymous Lt. is Jalil Lespert, a young police officer from Le Havre who transfer to Paris.  His commanding officer is Caroline Vaudieu (Nathalie Baye).  The first half of the film follows Antoine (Lespert) as he adjust to his new job in a the big city.  We sense there is tension between Antoine and his wife who remains in Le Havre.  The police in Antoine's precinct begin investigating a series of killings which bring Lespert into closer contact with Vaudieu.  The film slowly shift its focus to the relationship between these two.  Vaudieu is recovering alcoholic who son died at age 7 and she never fully recovered.  Antoine reminds her of her dead son and she begins to nurture the young police officer as his mentor and surrogate mother.  In the background, are these murders which will have tragic consequences for Antoine.  Not quite functioning as a taut thriller or policier, Le Petit Lieutenant hits it stride when it explores the lives of Antoine & Vaudieu.  It adds complexity to the characters as they go about their jobs which is 99% boredom and 1% terror.  Le Petit Lieutenant is worthy of whatever accolades and awards it has received.

Le Cérémonie was outstanding also.  Sandrine Bonnaire is Sophie an illiterate woman who comes to work for the Lelièvre family as a live-in maid in a small town.  Catherine (Jacqueline Bisset) and Georges (Jean-Pierre Cassel) are a well-to-do couple with two teenage children.  They treat Sophie well but their patronizing attitude towards her and affection towards each other create a distance between Sophie and her employers.  Her unwillingness to admit her illiteracy also causes misunderstandings.

Into this void steps Jeanne (Isabelle Huppert), the postmistress of the town.  Rebellious and resentful of people better off than her (such as the Lelièvres), Jeanne proves to be a bad influence on Sophie.  When Sophie discovers a secret about the Lelièvres' daughter, she threatens blackmail since the young woman knows about her illiteracy.  This results in Sophie being fired which in turn results in the violent finale.  Shocking in its brutality, Le Cérémonie ramps up the tension until Sophie breaks.

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At the 2012 Sacramento French Film Festival, I saw Romantics Anonymous which also played at the Roxie in July.  That reminds me, for some reason "The Beauty of the Real" was delayed by about a month.  Originally scheduled for July 20 to 26, it was postponed to August 17 to 23.  On the Roxie printed calendar, Romantics Anonymous was scheduled for August 17 to 23 but actually played July 20 to 26 (it may have been held over for another week).  In a nutshell, "The Beauty of the Real" and Romantics Anonymous swapped places on the Roxie calendar.  No explanation was given.

Romantics Anonymous, a 2010 comedy, was successful because of the chemistry between its two lead actors - Isabelle Carré & Benoit Poelvoorde.  Perhaps their on-screen chemistry was due to the fact that Romantics Anonymous was their second film together.  They made Entres ses Mains in 2005.

Entres ses Mains is the story of woman (Carré) who falls in love with a serial killer (Poelvoorde).  She is initially unaware of his murderous predilections but it is the scenes after she begins to suspect his "hobby" which make the film memorable.    Carré & Poelvoorde show a palpable on screen chemistry which must have led to their being cast in Romantics Anonymous.  It was particularly interesting to see Poelvoorde go from a meek chocalatier to a psychopathic killer.

A nos Amours was Sandrine Bonnaire's film debut.  She plays Suzanne, a promiscuous 15 year old. (Bonnaire's actual age during filming).  Bored at home, she begins to sleep around to the consternation of her father (played by director Maurine Pialat).  When he abandons the family, Suzanne mother (Evelyne Ker) has a nervous breakdown.  Her brother (Dominique Besnehard) becomes head of the household and begins beating her (while simultaneously showing more than brotherly love).  It's a Eurotrash family portrait rendered in realist brushstrokes and unsentimental tones.  A nos Amours is powerful film and Bonnaire's performance is amazing considering her age and lack of acting experience.  LaSalle said it was Bonnaire's sister who auditioned for the role but Pialat was immediately drawn to Sandrine's look and attitude.

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Three other films were not quite to the level enjoyments as the one I've summarized here.  I still liked them but just not as much.

Le Role de sa vie stars Karin Viard as a writer who becomes the personal assistant for a famous actress (Agnes Jaoui).  The film explores their relationship which evolves over the course of the film.

In Post Coitum Animal Triste, a 40something woman (Brigitte Rouan) begins a passionate but destructive relationship with a younger man.  It destroys her family (husband and two children) and nearly herself.

Les Ambitieux has a similar plot as Post Coitum, right down to the fact that both women are book editors.  In Les Ambitieux, Karin Viard plays an older woman having an affair with younger man (a writer) who begins secretly write a story about Viard's 1970's revolutionary father.  Les Ambitieux is a dark comedy whereas Post Coitum is drama.  In both films, I didn't find the lead character compelling.

Alias Betty felt like a Tarantino film at time.  There were a lot characters, many of the criminals, interacting with each and several plot threads that came together and then split apart and then came back together again.  Alias Betty tried to be too clever for its own good.

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The only film I didn't like was Anthony Zimmer, the first film of the series.  Zimmer was original material from which The Tourist (Angelina Jolie & Johnny Depp) was drawn.  Recalling how LaSalle's felt The Tourist was inferior to Anthony Zimmer, I think my expectation were raised too high to be fulfilled.  Not nearly "nerve-racking" as LaSalle led me to believe and with an ending I found incredulous, "The Beauty of the Real" did not start well for me but I'm glad I stuck with for 6 out of its 7 day run.

Confessions of a Francophile (Part 2 of 2)

Of the ten French films mentioned in the last post, I saw four at the Sacramento French Film Festival (SFFF).  I saw Four Adventures of Reinette and Mirabelle, La Rayon Vert and The Wages of Fear at the Viz (or as I find myself calling it more frequently, the Film Society Cinema).  I saw Children of Paradise and Grand Illusion at the Castro.  Finally, I watched The Kid With a Bike at the Landmark Center Embarcadero Cinema. 

Four Adventures of Reinette and Mirabelle and La Rayon Vert was presented as a double feature; the first I've attended at the FSC. 

The Kid With a Bike was part of the Film Society's 2011 French Cinema Now series which ran last October/November.  I missed it then so I'm glad I got a second chance.

Children of Paradise also played at the SFFF.  The film underwent a 4K digital restoration by Janus Films.  That version has played at the Castro on two different occasions this year.  That reminds me, I asked one of the SFFF/Crest workers (who was working the control panel) what kind of format the "films" were presented.   He said the short films were digital but the features were all 35 mm.  Indeed, they had problems with the Hôtel du Nord projection which was blamed on an old print.  I wonder how they projected Children of Paradise from celluloid when the Janus website claims they played the digital version.  Perhaps he was referring to the first weekend's screening only.

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The Kid With a Bike was a French language, Belgian film.  I can never recall if the French speaking peoples of Belgian are Flemish or Walloons.  The film was about Cyril (Thomas Doret), a 12 year old boy, living in an orphanage of sorts.  He runs away to be with his father but discovers his father has moved out of their apartment without warning and sold his beloved bike.  With the help of Samantha (Cécile de France), a good Samaritan, Cyril is reunited with his bike and his father; the latter with less than satisfactory results.  Explicitly rejected by his father, Cyril forms a psuedo-maternal retaltionship with Samantha which is tested when he comes under the influence of a local gang leader.

That synopsis does not do justice to the film because Doret's performance as Cyril is alternately exasperating and endearing.  I could quibble with the relative ease with which Samantha situates herself into Cyril's life or the contrived ending but Doret's performance is reason enough to see the film. 

Four Adventures of Reinette and Mirabelle and La Rayon Vert were two mid-career films from Eric Rohmer.  Four Adventures had a whimsical quality and consisted of four vignettes about two girls (one from the country & one from Paris).  My favorite was the fourth with Fabrice Luchini memorably playing a pretentious art gallery owner.

La Rayon Vert translates to "The Green Ray" which is a reference to the title of a novel by Jules Verne.  La Rayon Vert was released as Summer in the US.  Marie Rivière is Delphine, a young woman in Paris who is suffering from a terrible case of ennui.  Delphine is also guarded, difficult to engage and self-pitying.  Frankly, the character resonated with me.  In Delphine's case, she has broken up with her long-time boyfriend and had a cancellation in her vacation plans.  She's stuck in Paris in July & August (the days are stated in intertitles).  Actually, she is not stuck.  She accepts (and rejects) offers from friends and family for a vacation but her restlessness doesn't allow for any peace.  Whether it is her passive-aggressive behavior towards non-vegetarians or her unwillingness to flirt with men, Delphine is uptight and unhappy.  Rohmer never reveals the root cause of Delphine's behavior.  The audience is left to witness her self-imposed travails.  Although I empathized with her character; I can easily see how some in the audience would grow to dislike Delphine.  Rivière delivers a strong performance.  Of the two Rohmer films, I preferred La Rayon Vert.

The Wages of Fear is a Henri-Georges Clouzot film which I missed during the PFA series earlier this year.  Set in a small South American town (in Venezuela?), Wages of Fear essentially tells the story of polyglot bunch of refugees who came to town to make their fortunes drilling for oil.  Once the Americans arrive, they freeze out the non-Americans who are stuck in the small town.  Few jobs to be had and not enough money to afford passage on the airplane out of town (which is the only way out of town).  Bored and disconsolate, they are resigned to their fate.  Clouzot uses the first hour to set up the situation, develop Yves Montand & Charles Vanel's character and display the considerable sex appeal of his wife, Véra Clouzot...no woman ever looked sexier scrubbing the floors.

The second half of the film is a hair-raising thriller involving transporting nitroglycerin by trucks over rough roads to put out an oilwell fire.  The harrowing trip brings out the best and worst of the truckers.  Charles Vanel's Jo experiences a notable change in demeanor.  Bristling with unnecessary anti-Americanism, Wages of Fear would have been more effective if it had dispensed with the political commentary and simply placed the men in their situation which has existed since history began.  However, it was intertesting to see Clouzot's criticism of American hegemony in 1953...a scant 8 years after WWII ended.

Somewhat silly at times, Wages of Fear is a taut thriller in both its depiction of the journey and into the psyche of the men who risk their lives on the journey.

Grand Illusion is a very famous film by Jean Renoir with Jean Gabin & Pierre Fresnay as two French aviators who are shot down by German Baron von Rauffenstein (Erich von Stroheim).  French Capt. de Boeldieu (Fresnay) is an aristocrat while Lt. Maréchal (Gabin) comes from the working class.  Maréchal & de Boeldieu are moved from POW camp to POW camp.  Never able to form a true friendship due to the class differences, they learn to accept each other along with Lt. Rosenthal (Marcel Dalio), a Jewish nouveau riche who forms the third leg of Renoir's exploration of the social classes.

Later von Rauffenstein reappears as a POW camp commandant and rekindles his friendship with de Boeldieu who appears to have more in common with his German captor than his French comrades.  Von Rauffenstein & de Boeldieu are officers and gentlemem so they carry out their duties which leads to de Boeldieu's death and Maréchal & Rosenthal's escape.  The final portion of the film find the two fugitives taking refuge at a German widow's (Dita Parlo) farmhouse. 

Grand Illusion takes the humanist view of war as all the characters are terribly decent given their suffering.  As such, Grand Illusion is nothing like Stalag 17 or The Great Escape.  Renoir's film aspires to celebrate the human condition and condemn warfare.  With von Stroheim leading an extremely capable cast, Grand Illusion is a great film which transcends its pre-WWII overtones.

Children of Paradise & Hôtel du Nord were both directed by Michael Carné.  They depict a time and mentality which simply don't exist anymore and as such they look out of place today.  They both feature Arletty who was 47 and 38 when the films were released, respectively.  I don't know if it was the magic of moviemaking but she was quite attractive at age 47.  Well made films both, I couldn't really get excited about either.  I recognized their merit and the skills of the director and performers but neither film captured my excitment.

Romantics Anonymous, which will play at the Roxie starting July 20, was a delightful romantic comedy about a shy chocalatier and her new boss, who is anxiety ridden, tongue tied and profusely perspiring.  A non-threatening and nice film which showcases the comedic performances of Benoît Poelvoorde & Isabelle Carré.

A View of Love is a film I could not quite embrace either.  Moving back and forth between 1980s Aix-en-Provence and 1960s Algeria, the film focuses on the deferred romance between a high-end real estate agent (Jean Dujardin) and his wealthy client/childhood sweetheart (Marie-Josée Croze).  Full of intrigue (perhaps over-stuffed), the affair never really sizzles although Marie-Josée Croze is certainly a sexy woman.  Sandrine Kiberlain, who I have recently seen in The Women on the 6th Floor and Polisse shows up as Dujardin's wife.  I'd really like to see her in a lead role.

My favorite film of SFFF was Empty Days.  The 1999 film explores the romance between a corporate executive (Patrick Dell'Isola) and mousy housewife (Valeria Bruni Tedeschi).  Both have been unemployed for an extended period which takes its toll on their psyches and self-esteem.  Looking for support from each other, the two fall into an illicit romance (they are both married).  Both have their character flaws - the man is conceited while the woman is lacking in self-confidence.  They give each other a needed sense of validation as they spend their days passing time.  The film is loaded with small nuances such as their grocery shopping sojourns and Tedeschi's numerous facial expressions to show her insecurity.  I thought Tedeschi quite attractive so I wasn't sure about her character's obsession with losing weight but she displayed the character's diffidence in subtle ways. 

Empty Days was an extremely fulfilling film which combined the anxiety of long-term unemployment, the camaraderie of the unemployed and the need for empathy that even a spouse cannot provide.  Two people who wouldn't otherwise associate and who know their relationship is doomed still proceed because of their desparate isolation resulting from their unemployment and subsequent loss of self-worth. 

Dell'Isola and Tedeschi give outstanding performances. Tedeschi is the older sister of Carla Bruni, the wife of former French President Nicolas Sarkozy.

Confessions of a Francophile (Part 1 of 2)

I am half Japanese so I have a bias towards Japanese films.  I also enjoy Chinese films.  I recently wasted an hour during the weekend watching Zhang Yimou's Hero (2002) on television; a film which I have seen numerous times.  Despite the Asian population it the Bay Area, it seems clear to me that the cinematic foreign language of choice is French. 

I have to admit, I'm a big fan of many French films and directors.  Godard's Breathless (1960) and Contempt (1963) are among my favorites as is Jules Dassin's Rififi (1955).  More recently, I was supremely impressed with Claire Denis' Beau Travail (1999) and Daniel Auteuil's turn in The Closet (2001) still brings a smile to my face. 

I'm clearly taking advantage of the many French offerings being screened in Bay Area theaters.  I am greatly anticipating Mick LaSalle's upcoming series at the Roxie focusing on modern French actresses.

Over the past three months, I've seen 10 French films I've yet to document here.

The Kid With a Bike starring Thomas Doret & Cécile De France; directed by Jean-Pierre Dardenne & Luc Dardenne; French with subtitles; (2011) - Official Website
Children of Paradise starring Arletty; directed by Michael Carné; French with subtitles; (1945)
Four Adventures of Reinette and Mirabelle starring Joëlle Miquel & Jessica Forde; directed by Eric Rohmer; French with subtitles; (1987)
La Rayon Vert starring Marie Rivière; directed by Eric Rohmer; French with subtitles; (1986)
Grand Illusion starring Jean Gabin & Pierre Fresnay; with Erich von Stroheim, directed by Jean Renoir; French, German & English with subtitles; (1937)
The Wages of Fear starring Yves Montand; directed by Henri-Georges Clouzot; most French with subtitles; (1953)
Hôtel du Nord starring Annabella, Louis Jouvet & Arletty; directed by Michael Carné; French with subtitles; (1938)
Romantics Anonymous starring Benoît Poelvoorde & Isabelle Carré; directed by Jean-Pierre Améris; French with subtitles; (2010)
A View of Love starring Jean Dujardin & Marie-Josée Croze; directed by Nicole Garcia; French with subtitles; (2010)
Empty Days starring Valeria Bruni Tedeschi & Patrick Dell'Isola; directed by Marion Vernoux; French with subtitles; (1999)

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The real confession I have to make is that I went to Sacramento see a few films...and I liked it.  I cannot recall the last time I went through the Caldecott Tunnel much less Sacramento for any reason except work.  With the exception of the PFA, I rarely venture to the East Bay proper much less the Central Valley.  I've pretty much confined myself to the City with occasional trips to the Stanford Theater and the two weeks of Cinequest in San Jose.

However, I've been eyeing a trio of Sacramento film festivals for a few years now.  The Sacramento International Film Festival (SIFF) is held in April, the Sacramento French Film Festival (SFFF) is held in June and the Sacramento Japanese Film Festival (SJFF) is held in July.  Unfortunately, the SIFF conflicts with the SFIFF.  This year, the SJFF conflicts with the SFSFF.  That's too bad because I would have probably gone to Sacramento to see the SJFF screenings of A Good Husband, A Boy and His Samurai and Yoji Yamada's Kabei: Our Mother.  Not wanting to delay my Sacramento trip for another year, I decided to spend a weekend in Sac for the SFFF.

I was also interested in seeing the Crest Theatre on K Street in Downtown Sacramento.  With a main auditorium that can seat nearly 1,000 people, the Crest is an old-time movie palace on par with the Castro.  The Crest has subdivided what was probably the balcony into two smaller screening rooms which can seat 180 each.  That indicates the original theater could hold somewhere around 1,400 people which is about the capacity of the Castro. 

Opened in 1949 and restored for $1 Million in 1995, the Crest is a little more upscale than the Castro but nowhere near as glitzy as the Paramount in Oakland.  The first 10 or so rows are slightly raked while the back section is 20 or more rows of steep, stadium-style seating.  You enter the theater from the left or right of the auditorium via the main aisle which separates the upper and lower sections.  I didn't get to see the smaller screening rooms.  The lobby is split level with the concession counter and restrooms on one level and a lounge with photos and artifacts on the lower level.  The men's restrooms has a large anteroom which I imagine was used as a smoking room.  What looks like the original urinals are still in use; remarkably maintained I might add. 

Street parking was difficult in the area as the streets were metered on Saturdays.  Not to worry, the Crest provided parking validation for City of Sacramento Parking Garages; the closest being the Capitol Garage which you enter from 10th Street between K and L Streets.  Ask for the validation at the concession counter.

I went to the SFFF during its first weekend (June 16-17) and saw Hôtel du Nord, Romantics Anonymous, A View of Love & Empty Days.  I could have watched two more films but the timing wasn't good.  It was brutally hot in Sacramento that weekend & I was anxious to get back home.  The traffic was unusually bad for an early Sunday afternoon.  It took me over two hours to get from downtown Sacramento to the Financial District and I didn't see any accidents.  Although I drove, I wished I had taken the train instead.  Slightly more expensive than driving, I would have been saved the stress of the traffic and stifling heat which my car's air conditioner could not keep up with. 

I saw a flyer for Trash Film Orgy (TFO) which is hosting a midnite movies series at the Crest every Saturday night from July 14 to August 18.  Battle Royale is screening July 21 but it's the Five Deadly Venoms (August 11) and to a lesser extent Flesh Gordon (August 4) which I'm targetting.  The Sacramento Amtrak station is about five blocks from the Crest so I may take the train if I go. 

It turns out I like quite a bit of the schlock that TFO screens.  I've seen about 30 of the films they've screened in the past decade.  They even screened Switchblade Sisters (Jack Hill, 1975) a few years ago.  That's an exploitation film I've long wished the Maniac or Another Hole in the Head would screen.  Jesse has screened the trailer but not the film. 

Three of the SFFF features were preceded by short films.

Rendez-Vous directed by Yohann Gloaguen; French with subtitles; (2011)
Révolution directed by Nadia Jandeau; French with subtitles; (2011)
Dripped directed by Leo Verrier; animinated; no dialogue; (2010) - Official Website

Dripped can be seen on YouTube.