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Lucie (Lizzie Brocheré) and Pierre (Arthur Dupont), both 20 years old, are a brother and sister who share an intimate relationship with each other and their friends. One day the unstable and narcissistic Pierre is found savagely murdered. As the police investigation drags on, Lucie, aided by her friends, decides to find out who killed her brother. As we get deeper into the story, we learn of complexly cross-hatched dependencies and humiliations, where bodies are casually traded and ransomed. The surprise ending prompts as many questions as it answers about how sexuality can both inspire and defeat us. Directed by Jean-Marc Barr and Pascal Arnold.

 One to Another

The following are comments on certain words pertaining to One to Another:

Youth: How to explore the conscience of today’s adolescents, the evident confusion and chaos that must exist when dreams are shattered by this volatile modern world where they face adulthood too quickly and the insensible, hysterical violence that becomes their only revolt.

The Body: The only instrument a human being has to reveal identity; that mystical, carnal and mortal piece of fleshy space that gives us the capacity to take action however beautiful or tragic. Pierre, our adolescent hero in One to Another, revolts with his body, sexually. James Dean took it out on a fast car in Rebel Without a Cause.

Sex: We are born into civilization without choice, indoctrinated into the necessary evils of governments and religions. But we have also earned the right to our illusion of independence. Once I figured that out, sex became easier to celebrate in my personal life and in films.

Freedom: Our lives are doomed to meaningless illusions in this struggle for survival. Maybe we understand the meaning of freedom when we die.

Violence: We seem stunned in an age of information, where for our survival we have had to gradually disengage from the moralistic moorings that we had imagined for ourselves. We close our eyes, cover those of our kids and hope that the storm passes. Those who cannot escape it react in an explosive way.

Nature: The link to God and the only real thing worth fighting for.

Duo: Pascal Arnold is my partner. We co-produce and direct our independent movies in France for an international audience. He, a Frenchman, and myself, more American than French, naturally form a confrontational couple who, through dialogue and sweat, allow our egos to evaporate so we can concentrate on making the film. We are idealists, dedicated to asserting the artistic tradition of allowing ourselves complete freedom in creating our films.

French/American: I am one of the last baby boomers, military brats born in Germany to a USAF Officer and a French mother. I grew up in many parts of the United States and started my profession as an actor and director in London and Paris. Someone once told me that the more an American lives in Paris the more he realizes how American he is. I try to cultivate my hybrid quality by living in both countries.

Actor: Someone who should have the privilege of knowing how to be nothing and have fun…even when not acting. A somewhat spiritual profession that, when paid for it, you take the money and run.

Industrial Cinema: The weekly blockbusters help us keep score on what is the best movie every year. It’s fun to see all the advertising and new gimmicks. Fortunately, we don’t get the chance to miss these epic productions. They fill up most of our screens.

Digital Revolution: Ten years ago there were only one or two official voices to fill the void of our doubts. The studios provided the entertainment. That is no longer the case. Today the power of communication is moving away from the corporate center and towards the periphery, on individuals who are interconnected worldwide. The new technology has not only created a new wave of independent filmmakers, it is also inventing new ways for images to be consumed, cheaper and without industry censure. With the creation of these new markets it looks like the wave has the potential of a tsunami.

The Craft: Pascal and I are not only co-producers/directors. Sometimes we write together or one of us chooses to direct the photography; sometimes I act. The digital revolution allows us to assume more artistic control of our product and also to familiarize ourselves with all facets of our craft. We want to guarantee a human touch. With the world as our stage, we are discovering with our small crew the same euphoria and innocence in making movies as in the days of Mack Sennett 100 years ago.