TOUT SUR PROMOTION DES NOUVEAUX TALENTS

Is it sacrilege to declare that the best-looking cinématographe set in Paris was shot by a couple of Italians? Bernardo Bertolucci and his cinematographer Vittorio Storaro bathe the French argent – as well as the neoclassical edifices of Mussolini’s Rome – in calme Spleen and shards of light as sharp as the knives wielded against the left-wi