The film takes place in a Parisian suburb and brings us into the closest possible contact with the people who live here and takes us into the privacy of their lives. A series of personal accounts and shots of the decorated interiors of apartments and houses with no hint as to where we are, no names. No stigma attached, no label given. For these are not the subject of the film, which seeks instead to give a face and a voice – a sort of private landscape – to a space that has come to represent all that is standardized and anonymous.

At the end of his life, gravely ill, François Truffaut took refuge with his ex-wife Madeleine Morgenstern. She tried to keep him occupied during his long agony. The filmmaker confided in his friend Claude de Givray, with the intention of writing his autobiography. Too weakened, he abandoned the project. The film reveals part of this final story.

A man sets out to the very far end of Siberia seeking answers by asking villagers to share their own experience of love. He encountered love once in Paris years ago but has lost his loved one since then. By confronting himself to those men and women living in the frozen lands filled with sorrow, extreme coldness and alcohol, he finally accepts the mourning of his own story.

2011年，碧姬·芭铎同意拍摄关于自己的纪录片。当导演第一次见到她时，她表示自己不会参与拍摄，但允许导演使用她的家庭资料、父亲所拍的录像片段、从她小时候一直到成为荧幕女神。她还允许任意拍摄她的生活场所：马德拉格和圣托贝的房屋，还有她的栖息之地。通过这些私密材料，导演勾勒出了碧姬不为人知的一面，构成一份爱的宣言。

时装圈用了崇敬的字眼来称呼他：“大师”、“泰斗”、“权威”……而他于1月份举行的那场告别时装秀则被媒体描述为“泪花中的掌声”。当时巴黎的蓬皮杜中心内外聚集了几千位观众，从应邀的各界名流到在寒风中观看大屏幕直播的YSL衷心爱戴者。这场表演集中了圣洛朗40多年来设计的精华，而从历史的角度来看，这就是战后欧洲时装发展的重演：从最初解放女性的长裤套装、夹克上装，到经典的代表作“蒙瑞安色块”和“毕加索系列”，再到由他首创的黑色性感透视装，正如他所说的“时装并不仅是让女性更美，而是要在精神上支持她们，让她们变得更自信。。

A record of the Yves Saint Laurent from his sketches to examining final versions of his designs. The clothes themselves have a starring role: spectacularly beautiful, made of the most exotic and fragile materials, modeled by women whose dimensions defy reality.