Gael García Bernal and Charlotte Gainsbourg star in Michel Gondry’s delightfully silly The Science of Sleep
CinéSalon: THE SCIENCE OF SLEEP (LA CIENCIA DEL SUEÑO) (LA SCIENCE DES RÊVES) (Michel Gondry, 2006)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, November 19, 4:00 & 7:30
Series continues Tuesday nights through December 17
212-355-6100 fiaf.org
The FIAF CinéSalon series “Charlotte Forever: Gainsbourg on Film,” an eight-movie tribute to the ever-charming and captivating Charlotte Gainsbourg, continues November 19 with eclectic auteur Michel Gondry’s feature-length debut as both writer and director. The Science of Sleep is a complex, confusing, kaleidoscopic stew that is as charming as it is frustrating. Gael García Bernal (The Motorcycle Diaries, Mozart in the Jungle) stars as the juvenile but endearing Stéphane, a young man in a silly hat who has trouble differentiating dreams from reality. The childlike Stéphane becomes friends with his new neighbor, Stephanie (Gainsbourg), who still has plenty of the child left inside her as well. Stéphane has a job his mother (Miou-Miou) got him, toiling for a small company that makes calendars, alongside the hysterical Guy (Alain Chabat), who can’t help constantly poking fun at coworkers Serge (Sacha Bourdo) and Martine (Aurélia Petit).
Gondry, who is also responsible for the brilliant Eternal Sunshine of the Spotless Mind as well as the highly entertaining Dave Chappelle’s Block Party and the bizarre Human Nature, uses low-tech green-screening and stop-motion animation to reveal Stéphane’s fantasy world, bringing to mind such masters as Jan Svankmajer and the Brothers Quay. Unfortunately, just as Stéphane can’t tell what’s real from what he’s dreaming, viewers will often have difficulty as well; some of the plot turns are downright infuriating, and Stéphane’s TV show teeters on the edge of embarrassing. But you’ll also be hard-pressed not to leave the theater feeling like a kid in a candy store. The Science of Sleep is screening at Florence Gould Hall at 4:00 and 7:30 on November 19; the celebration of César favorite Gainsbourg, who is the daughter of Serge Gainsbourg and Jane Birkin, runs through December 17 with such other works as Claude Miller’s L’effrontée, Lars von Trier’s Melancholia, and Franco Zeffirelli’s Jane Eyre.
Chocolate lovers flock to Javits Center for return of cacao salon (photo by twi-ny/mdr)
Salon du Chocolat
Javits Center
655 West 34th St. at 11th Ave.
Saturday, November 16, 10:00 am – 6:00 pm, and Sunday, November 17, 11:00 am – 5:00 pm
Admission: $10-$25 in advance, $12-$35 onsite www.salonduchocolatny.com www.javitscenter.com
The return of Salon du Chocolat to New York has attracted a big crowd to the Javits Center, where chocolate-obsessed minions can experience all things cacao, from samples and demonstrations to workshops and fashion. There are more than eighty booths and dozens of events, so navigating it can be tricky. Several popular purveyors — including two that are offering alcohol-infused chocolate — have long lines, so we suggest skipping those. However, where there are lines, please acknowledge them; we saw far too many people not honoring the queues, rudely pushing in front of others to snag a free bonbon, truffle, or nib. There is a lot to try, and many of the men and women behind the booths are the owners, chefs, or creators and love talking about their process, so do engage them (and perhaps even get a bonus taste). We were impressed with brands from South America (Hoja Verde — Global Cadena), New Zealand (Hogarth), Vanuatu (Aelan), Haiti (Askanya), and Vietnam (Marou) as well as New Jersey (Knipschildt), Connecticut (Le Rouge), Texas (Maggie Louise), and the Lower East Side (Roni Sue’s) on our international chocolate tour; below are some of our favorite stops.
The Harlem Chocolate Factory adds 1920s glamour to confection convention (photo by twi-ny/mdr)
Goodnow Farms uses fresh-pressed single origin South American beans in creating unique flavors (photo by twi-ny/mdr)
The Honey Jack caramel bonbon at Two Chicks with Chocolate is a stand-out (photo by twi-ny/mdr)
Le Rouge Aartisan Chocolates adds an Indian twist to French delights (photo by twi-ny/mdr)
Chocolate Genius Paul Joachim molds the elephant in the room (photo by twi-ny/mdr)
Austin-based Maggie Louise Confections offers generous samples of sweet treats (photo by twi-ny/mdr)
The Choc Doc is on the case, offering Chocolate for the Spirit (photo by twi-ny/mdr)
Karl Hogarth has traveled from New Zealand to serve his bean-to-bar chocolate (photo by twi-ny/mdr)
Pastry chefs and other industry pros give talks and demonstrations at Salon du Chocolat (photo by twi-ny/mdr)
Master chocolatier Håkan Mårtensson has sculpted chocolate dragons at his booth (photo by twi-ny/mdr)
FBI Special Agent Justin C. Garrick (Pete Simpson) confronts Reality Winner (Emily Davis) in Is This A Room (photo by Carol Rosegg)
Vineyard Theatre
Gertrude and Irving Dimson Theatre
108 East 15th St. between Union Square East & Irving Pl.
Tuesday – Sunday through November 24, $45-$100 www.vineyardtheatre.org
In 2017, upon first reading the official FBI “Verbatim Transcription” of the initial interrogation of twenty-five-year-old linguist Reality Winner regarding leaked classified information, Half Straddle founder and artistic director Tina Satter knew she had her next play. She also knew she had her star, company member Emily Davis. The resulting show, Is This A Room, which debuted at the Kitchen before evolving into the production now running at the Vineyard through November 24, is a gripping re-creation of the event, a dramatic word-for-word account of the FBI’s fascinating methods of questioning and Winner’s uncertain answers, at least at the beginning.
Parker Lutz’s spare stage consists of a few raised platforms and posts that represent both the outside and the inside of Winner’s house in Augusta, Georgia. There is no furniture and no props other than stuffed versions of Winner’s dog and cat. (Amanda Villalobos designed the animal puppets.) There is also a row of twelve seats along the back of the stage where a dozen audience members sit, including me; I felt like part of a jury and a person under surveillance, watched by Winner, the FBI agents, and the crowd in the regular seats. Special Agents Justin C. Garrick (Pete Simpson) and R. Wallace Taylor (TL Thompson) arrive at Winner’s (Davis) house just as she has come home from shopping. The men are in plainclothes; Winner is wearing a white button-down shirt, cut-off jean shorts, and yellow high-top canvas sneakers without socks, her hair pulled back in a knot. (The costumes are by Enver Chakartash.) While Garrick is friendly with Winner, making conversation about pets, exercise, work, weapons, and perishables, Taylor is much more direct and in her face, engaging in a variant of the classic good-cop, bad-cop scenario. In addition, an unidentified male agent (Becca Blackwell) in battle fatigues, as if ready for any kind of possible trouble, keeps entering and leaving, helping out with the dog and cat and securing the interior and exterior spaces.
Special Agents R. Wallace Taylor (TL Thompson) and Justin C. Garrick (Pete Simpson) interrogate Reality Winner (Emily Davis) as an “unknown male agent” (Becca Blackwell) looks on (photo by Carol Rosegg)
“Okay, well, the reason we’re here today is that we have a search warrant for your house,” Garrick tells Winner, who responds innocently, “Okay.” Garrick: “All right. Uh, do you know what this might be about?” Winner: “I have no idea.” Garrick: “Okay. This is about, uh, the possible mishandling of classified information.” Winner: “Oh my goodness. Okay.” As the interrogation continues, everyone starts letting their hands show a little more as the truth slowly comes out in drips and drabs. However, even though we now know that the investigation dealt with Russian interference in the 2016 presidential election, at that point those elements were still classified, so a crash of sound and instant darkness detonates at each redaction, excitingly jolting the audience. (The lighting is by Thomas Dunn, with sound by Lee Kinney.)
Satter (Straight White Men,House of Dance) casts no judgments on the characters, telling the story as it happened; your personal beliefs will help you decide if you think there are heroes or villains in the true story. Davis (Satter’s The Seagull [Thinking of You] and In the Pony Palace/Football) sublimely captures the essence of the nervous, jittery Winner, who spent six years in the Air Force, was employed by the military contractor Pluribus International Corporation, had NSA security clearance, speaks Farsi, Dari, and Pashto, and only wants to do what is right for her country; even though most of the audience knows the outcome, either by having followed the news or read the insert in the program, it is utterly compelling watching Davis as Winner is confronted with more and more evidence against her. The three actors portraying the FBI agents are all effective, with Simpson (Straight White Men,Gatz) standing out as Garrick, garnering sympathy despite his manipulative methods. Is This A Room is a riveting play that explodes with importance at a very specific moment in time when whistleblowers are harassed and threatened by people in power who are trying to cover up vital information.
Activist and hoarder Marion Stokes compiled 70,000 tapes over more than thirty years
RECORDER: THE MARION STOKES PROJECT (Matt Wolf, 2019)
Metrograph
7 Ludlow St. between Canal & Hester Sts.
Opens Friday, November 15
212-660-0312 metrograph.com recorderfilm.com
During the Iran hostage crisis that took place from 1979 to 1981, a Philadelphia woman named Marion Stokes became obsessed with news coverage and began taping as many primarily news-related programs as she possibly could, keeping as many as eight VCRs going at any one time. Her unusual story is documented in Matt Wolf’s irresistible Recorder: The Marion Stokes Project, which opens November 15 at Metrograph. Stokes was ahead of her time, creating her own kind of audiovisual time capsule, which ultimately comprised more than seventy thousand Betamax and VHS tapes made over four decades that presaged the 24/7 news overload and preponderance of alternative facts we are experiencing today. “Taping these programs for my mother was a form of activism. She wanted people to be able to seek the truth and check facts,” explains her son, Michael Metelits.
Marion Stokes proves to be quite a character in Matt Wolf documentary
Wolf also speaks with her chauffeur, Richard Stevens; her secretary, Frank Heilman; her nurse, Anna Lofton; her daughters, Mizzy Stokes and Anne Stokes Hochberg; and her ex-husband, Melvin Metelits, who all share details of her many idiosyncrasies. A former librarian and longtime Communist who considered defecting to Cuba, she also hoarded newspapers and magazines in her quest to archive as much of what was really going on in the world as she could. “A lot of craziness produces a lot of brilliance, and I think there’s something kind of brilliant about what Marion Stokes did. Whatever motivated her, this material needed to wind up in a situation where it could be shared,” Heilman says.
Wolf supplements the interviews with excerpts from Marion’s tapes as well as family photos and videos and clips of her on the public affairs program Input with the man who would become her second husband, John S. Stokes; they worked together at the Wellsprings Ecumenical Center. Marion was also obsessed with Star Trek, furniture, and Apple computers, which she wisely invested in. Much of what she recorded would have been lost forever, made at a time when not every television station kept everything they broadcast, and to see many of these reports now, complete with commercials, is utterly compelling, so unlike what we watch today, following shows and channels that keep us inside our carefully constructed bubbles.
But her nonstop taping and hoarding caused problems with her family as she became more and more tied down to her house, needing to be home to change the tapes every six hours. “I’m sure she came to value what was coming through the screens more than the kind of very problematic messy stuff that was happening in her real life,” one interviewee notes. Described as a mysterious and private woman who was controlling, Marion says on Input, “Who decides what’s normal? I think maybe a reexamination of what is normal is in order at this point.” Is it ever. Metrograph will host a series of Q&As with Wolf, moderated by Lynne Tillman, Scott Macaulay, Charlotte Cook, Melissa Lyde, Sierra Pettengill, Collier Meyerson, and Stuart Comer, at select screenings Friday through Wednesday.
BrandoCapote takes place in a Kyoto hotel that doubles as purgatory (photo by Miguel Aviles)
The Tank
312 West 36th St. between Eighth & Ninth Aves.
Tuesday – Sunday through November 24, $25 thetanknyc.org
In 1957, thirty-two-year-old writer and journalist Truman Capote was sent to Kyoto by the New Yorker to do a story on thirty-three-year-old actor Marlon Brando, who was in Japan making Sayonara, Joshua Logan’s movie based on James Michener’s novel about an air force pilot who falls in love with a Japanese dancer during the Korean War. Husband-and-wife team Reid and Sara Farrington use the resulting article, “The Duke in His Domain: Marlon Brando, on Location,” as the jumping-off point for the multimedia production BrandoCapote, continuing at the Tank through November 24. The seventy-minute show, set in the hotel where Capote is interviewing Brando, also incorporates elements of Capote’s 1965 nonfiction novel, In Cold Blood, an investigation into the senseless murder of the Clutter family in Kansas by Dick Hickock and Perry Smith, as well as the tragic circumstances surrounding Brando’s son Christian, daughter Cheyenne, and Cheyenne’s boyfriend, Drag Drollet.
As they have done in such previous dazzling works as The Passion Project,CasablancaBox,Gin & “It,” and A Christmas Carol, the Farringtons use film clips to propel the narrative, projected with pinpoint precision onto Japanese fans and umbrellas that the five-person cast open up and turn toward the audience. For example, a clip of Brando as Col. Kurtz in Apocalypse Now asking, “Are you an assassin?” is followed by Capote answering, “No no no, I’m a journalist!” The dialogue is a compelling, sometimes confusing patchwork, with some lines spoken live by the actors onstage — Rafael Jordan as Brando, Jennifer McClinton as Capote, Lynn R Guerra as Brando’s mother, Dodie, Laura K Nicoll as Cheyenne, and Cooper Howell as Christian — some from the film clips, and others prerecorded audio snippets (with Sara Farrington and Akiyo Komatsu delivering different vocal impressions of Capote), in which case it is sometimes lip-synced, causing a panoply of beguiling chaos. “He paused, seemed to listen, as though his statement had been tape-recorded and he were now playing it back,” Capote writes of Brando in the article.
Clips from Marlon Brando movies are projected onto such objects as umbrellas to propel the plot of multidisciplinary work at the Tank (photo by Miguel Aviles)
Dressed in colorful kimono designed by Andre Joyner and constructed by Kelvin Gordon-El, the actors move to intricate choreography by Nicoll based on Japanese noh, bunraku, and kabuki traditions that repeats continually throughout the show, as if the director is yelling “Cut!” and the scene is being done over. “Sorry, sorry. Lemme start over. I’m gonna get this right,” Brando says after re-creating a violent scene from A Streetcar Named Desire. There are also excerpts from On the Waterfront, Mutiny on the Bounty, Julius Caesar, Last Tango in Paris, The Missouri Breaks, Sayonara, The Godfather, and other Brando films, many of which deal with childhood and the relationship between parents and children. “The son becomes the father, and the father the son,” Brando as Kal-El says to his infant son in a clip from Superman. “You are all my children,” Brando as Dr. Moreau tells his hideous creations in The Island of Doctor Moreau. Meanwhile, Brando threatens to kill his father if he ever beats his mother, a wanna-be actress, again. And after being called a “sissy” by other kids, Capote says of the bullies, “Buttoned up, boring, faceless nobodies — the kind of son my mother always wanted.”
The set is continually destroyed and resurrrected in Reid and Sara Farrington’s BrandoCapote (photo by Miguel Aviles)
Chairs and tables are overturned, carried offstage, then brought back on as the characters fold up and then ritualistically unfurl long black-and-white or red obi sashes, placing them carefully across the floor. Someone calls out, “Let’s get back to the interview,” and a sound glitch takes the action back to Capote in the hotel, which doubles as purgatory. It all comes off like clockwork, which is fascinating to experience. It is also repetitive in an abstract way, which can be both titillating and aggravating. But it’s always stimulating, both aurally and visually. “I’m not an actor,” Brando says self-effacingly. “I’m a mimic. Everyone is. And I’m not successful.” However, BrandoCapote is, in part by not merely mimicking its two famous celebrities but taking their story to another level.
The Chocolate Fashion Show redefines haute couture/cuisine
Javits Center
655 West 34th St. at 11th Ave.
Saturday, November 16, 10:00 am – 6:00 pm, and Sunday, November 17, 11:00 am – 5:00 pm
Admission: $10-$25 in advance, $12-$35 onsite www.salonduchocolatny.com www.javitscenter.com
“All you need is love, but a little chocolate now and then doesn’t hurt,” Peanuts cartoonist Charles M. Schulz wisely stated. Fall just hasn’t been the same since Salon du Chocolat stopped coming around here in 2011, but the multidimensional celebration of all things cacao is now back for a brand-new iteration, bringing love as well as delectable delights to the Javits Center November 16-17. More than eighty purveyors of ganache goodness will have booths, offering samples, selling their wares, and sharing their thoughts on what local chef Michael Levine calls “the world’s perfect food,” and who are we to argue?
The two-day festival features live chocolate sculpting by Paul Joachim (aka the Chocolate Genius), demonstrations and Q&As with master chocolatiers, interactive workshops, a family-friendly activity center, holiday shopping pop-ups, and the salon’s inestimable Chocolate Fashion Show, in which chefs and designers collaborate on remarkable works of art. If the advisory council is any indication, we should be in for a real treat: Jansen Chan, Martin Howard, Lisa Mansour, Håkan Mårtensson, Roger Rodriguez, Rich Leach, and Ed Seguine.
Among the participating vendors from all across the globe are Aelan Chocolate Makers, Amazing Cacao, Amedei Tuscany, AMMA Chocolate, Bang Cookies, Chocolate Therapy, Conexión Chocolate, Dorothy Cox’s Chocolates, Gotham Chocolates, Harlem Chocolate Factory, Läderach, M2 Confections, Makaya Chocolat, Mozart Chocolate Liqueur, Roni Sue’s Chocolates, and VillaKuyaya Organic Dark Chocolate. Also on hand is our all-time fave, Fritz Knipschildt, who introduced us to the wonders of sea salt and caramel with chocolate many years ago at the show.
The event website provides brief info on each vendor, including whether their chocolate is fair trade, gluten free, organic, or vegan, for those who need to know. Below is a complete list of all the special programs taking place. No matter how sad you might be about the bleak, cold days ahead as well as the political situation, be sure to come hungry; as a University College London study has just declared, there is “some evidence that consumption of chocolate, particularly dark chocolate, may be associated with reduced odds of clinically relevant depressive symptoms.”
Saturday, November 16 Cocoa Nib Chocolate Tart with Oreo Crust, with Abby Swain, Chocolate Demonstration Stage, 10:30
Painting with Chocolate: Creating Edible Art, with Nikki Woolfolk, Salon du Chocolat Junior, 10:30
Royal Icing, with Toni Lynn Dickinson, Pastry by the Pros Stage, 11:00
Bûche de Noël, with Sean Considine, Chocolate Demonstration Stage, 11:30
Chocolate Clay: Eat your art!, with Nikki Woolfolk, Salon du Chocolat Junior, 11:45
Holiday Pies, with Toni Lynn Dickinson, Pastry by the Pros Stage, 12:00
Chocolate Bourbon Cake, with Nick Malgieri, Chocolate Demonstration Stage, 12:30
Fritz Knipschildt will bring his Chocopologie to the Javits Center this weekend
Decorating Cakes with Piping, with Toni Lynn Dickinson, Pastry by the Pros Stage, 1:00
Make Your Own Vegan/Allergy Free Chocolates, with Mona Changaris, Salon du Chocolat Junior, 1:00
Coconut and Honey Truffle Pop by Khakow, Chocolate Demonstration Stage, 1:30
Valrhona Hot Chocolate Festival, with Miro Uskokovic, Eunji Lee, Thea Habjanic, Dan Keehner, Paola Marocchi, Elise Harris, Rob Valencia, Christophe Toury, Guillaume Roesz, Ikuma Motoki, Jana Kern-Mireles, Jayce Baudry, Rory Mcdonald, and Chris Elbow, 1:30
Painting with Chocolate: Creating Edible Art, with Nikki Woolfolk, Salon du Chocolat Junior, 2:00
Ruby Pastry, with Rocco Lugrine, Pastry by the Pros Stage, 2:00
Chocolate Clay: Eat your art!, with Nikki Woolfolk, Salon du Chocolat Junior, 3:00
Crafting Cookies, with Jansen Chan, Pastry by the Pros Stage, 3:00
Signature Salon du Chocolat Fashion Show, with Vanessa Greeley, Ia Faraoni, Dede Ayite, Fritz Knipschildt, David Woolard, Moran Etstein, Libat Ohayon, Ashley Holt, Richard Capizzi, Marilyn & Joe Bawol, Christine Alaniz, and Corina Chase, Special Events Stage, 4:00
Almond Milk Chocolate Chunk Cookies, with Miro Uskokovic, Pastry by the Pros Stage, 5:15
Sunday, November 17 Chocolate Clay: Eat your art!, with Nikki Woolfolk, Salon du Chocolat Junior, 11:15
Boogie Woogie Books, Special Events Stage, 11:30
Ruby Bonbon, with Russ Thayer, Chocolate Demonstration Stage, 11:30
Cakes from Start to Finish, with Jürgen David, Pastry by the Pros Stage, 11:45
Painting with Chocolate: Creating Edible Art, with Nikki Woolfolk, Salon du Chocolat Junior, 12:15
Savory Chocolate Winter Stew, with Matt Gennuso, Chocolate Demonstration Stage, 12:30
Thanksgiving Breads, with Jürgen David, Pastry by the Pros Stage, 12:45
Make Your Own Vegan/Allergy Free Chocolates, with Mona Changaris, Salon du Chocolat Junior, 1:15
Chocolate Puddin’, with Katzie Guy-Hamilton, Chocolate Demonstration Stage, 1:30
Fall Fruit Flavors, with Jansen Chan, Pastry by the Pros Stage, 1:45
BAM’s Next Wave festival of debuts under new artistic director David Binder has another first, a show taking place not in the Harvey, the Howard Gilman Opera House, or the Fisher but up Fulton St. at a nearby café. London-based site-specific-performance purveyors Dante or Die is staging its poignant User Not Found in the cozy Greene Grape Annex, where the small audience sits at shared tables or on benches or stools. It’s an intimate and clever exploration of grief and one’s digital legacy in the age of social media that will have you thinking about your own online footprint.
Each audience member is given a headset and a cellphone. After some Norah Jones music concludes, a man starts talking; it takes a minute or so to realize he is sitting at one of the tables, getting ready to share his tale as it unfolds in real time. We see and hear exactly what he sees and hears on his phone, from text messages and relaxing apps to photos and videos that bring up memories. (The music and sound design is by Yaniv Fridel, with video design by Preference Studio and creative technology by Marmelo.) Identifying himself as Terry (Terry O’Donovan), he is just finding out that his ex-lover Luka has died and that he is the executor of his digital profile via a company called Fidelis, which means “always faithful”: It is his responsibility to determine whether to keep or delete Luka’s Facebook, Twitter, Instagram, Tinder, etc., pages. Having been unceremoniously dumped by Luka in a brutal breakup, he has no interest in the job, yet he begins searching through Luka’s data to see what he has been doing since he left him as well as remembering some of the good times. Terry walks all around the café (the lighting and set design is by Zia Bergin-Holly), seeking out eye contact and making connections, and at one point he does an interpretive dance across the floor. (The production is copresented with BAM neighbor the Mark Morris Dance Group.)
User Not Found takes place in Greene Grape Annex café near BAM (photo by Rebecca Smeyne)
Written by Chris Goode and created by O’Donovan and Daphna Attias and inspired by a 2015 Guardian article by Caroline Twigg entitled “What happens to my late husband’s digital life now he’s gone?,”User Not Found is a very human and deeply cathartic look at grief and how it’s shared in our current world of continual contact through technology. The point is, of course, that Terry could be any of us; as you glance around at the other people in the audience, you might wonder if they’ve been through anything like Terry has, since each one of us has our stories that we choose to share or not. Director Attias carefully balances our communal and individual experiences as Terry reaches into his heart while mourning right in front of us, going through some of the five stages of loss in a swiftly moving ninety minutes. Once you leave the café, it’s highly unlikely that you won’t be considering who you would make your digital executor while also pondering what is still on your MySpace page.
(User Not Found runs through November 16; in addition, Dante or Die will host the artist workshop “Site-Specific Theater-Making” at the Mark Morris Dance Center on November 13 at 2:00 as part of BAM’s Artist Lab program.)
The FIAF CinéSalon series “Charlotte Forever: Gainsbourg on Film,” an eight-movie tribute to the ever-charming and captivating Charlotte Gainsbourg, continues November 19 with eclectic auteur Michel Gondry’s feature-length debut as both writer and director. The Science of Sleep is a complex, confusing, kaleidoscopic stew that is as charming as it is frustrating. Gael García Bernal (The Motorcycle Diaries, Mozart in the Jungle) stars as the juvenile but endearing Stéphane, a young man in a silly hat who has trouble differentiating dreams from reality. The childlike Stéphane becomes friends with his new neighbor, Stephanie (Gainsbourg), who still has plenty of the child left inside her as well. Stéphane has a job his mother (Miou-Miou) got him, toiling for a small company that makes calendars, alongside the hysterical Guy (Alain Chabat), who can’t help constantly poking fun at coworkers Serge (Sacha Bourdo) and Martine (Aurélia Petit).
