Jackie : A Film Review


Directed by Pablo Larraín. Produced by Juan de Dios Larraín, Darren Aronofsky, Mickey Liddell, Scott Franklin, Ari Handel. Written by Noah Oppenheim. Cast. Natalie Portman, Peter Sarsgaard, Greta Gerwig, Billy Crudup, John Hurt. Music by Mica Levi, Cinematography Stéphane Fontaine, Edited by Sebastián Sepúlveda, Production companies, LD Entertainment, Wild Bunch, Fabula, Why Not Productions, Bliss Media, Endemol Shine Studios, Protozoa. Duration. 1hr 35mins. Cert. 15.


A moment changes the World

You are in for an engrossing watch through the dramatic performances and palpable tensions over an event which will last long in the memory of the Political and Social history of America. The 1963 assassination of John Fitzgerald Kennedy.  He was artly responsible for setting the foundation stones of modern America which were laid by a unity of purpose naively set up on the false hopes of the ‘All American dream‘ and even proposing – in a space race with the then USSR – landing a man on the moon. Most of America was fed through the very new media of TV and infinity of lifestyle magazines from Life to Playboy.  GQ would come later and in the Trump towers supermo’s office he has framed covers of Playboy and GQ featuring DT and with this film opening in the U.K. on Friday 20 January on the inauguration of the New President of the United States it is Donald Trumps turn to shape the USA dream or sign its death nail.

The blurb on the film is After her husband’s assassination, Jackie Kennedy’s (Natalie Portman) world is completely shattered. Traumatized and reeling with grief, over the course of the next week she must confront the unimaginable: consoling their two young children, vacating the home she painstakingly restored, and planning her husband’s funeral.  Jackie quickly realizes that the next seven days will determine how history will define her husband’s legacy – and how she herself will be remembered. Chilean director Pablo Larraín (Tony Manero, No) plunges us into the devastation using a series of finely crafted flashbacks that cover the fateful day in Dallas, Jackie’s return to the White House, arrangements for the President’s funeral, and her time spent accompanying her husband’s coffin to Arlington Cemetery.  

The role came to Portman through Darren Aronofsky, who directed her in Black Swan, for which she won an Oscar in 2011. He shepherded Noah Oppenheim’s script of Jackie for a number of years. Meanwhile, Larrain’s star was rising beyond Chile, in films largely about his home country’s history (No, The Club, Neruda). The Club won a prize at the Berlinale in 2015.  Sydney Morning Herald.


Performances to celebrate

It is a very tightly crafted film, very much keeping its focus on the psyche of Jackie Kennedy in a short period and time of immense change.  With all seeming to be heading sweetly for JFK heading into a second term, this was a joyous time and full of hope but is cruelly shattered in seconds.  The script is chillingly absent of sentiment, ideology, lecture or incidental fill.  It has a welcome electrifying directness giving insight to the persons at the heart of the event.  The conversations and efficiency of words infiltrate the mood swings and juxtapositions, allowing fractious clashes to ignite believably while personalities vie to capture their own space in the story.  The likes of the senior clerical Priest, Father Richard McSorley, played with assurity and gravitas by John Hurt, who is asked by Jackie to conduct the Funeral, is a fatherly figure with a breadth of intuative and needed kind wisdom, which he delivers in a long conversation with Jackie as they survey the landscape prior to the Funeral. The suggestion Jackie has a conversation with Father McSorley is not simply him seeking her approval of the arrangements but to have her unburden the thoughts he is aware she will not release. That in itself is a vivid illumination of the key central characters and the complexity of this world shattering event. Richard E.Grant is also wholly convincing as the ‘Master of Ceremonies’ in the White House, William Walton, anticipating and conflicted by the choices of Jackie in the now decorous White House she has recently restored and transformed into a ‘peoples’ house yet extravagance is not exiled.  The chairs once used by the Lincolns are retrieved from the English aristocrat family who obtained them. Peter Sarsgaard is tremendous as Bobby Kennedy.  He has the unfortunate job of burying a brother and looking after a widow both in grief. He is fragile and has black secrets. Bobby acted a lot of the time to keep the private side of his brother hidden while he also plays someone who deals with a wife who was aware of her husbands infidelity and mixing with the wrong folk.

Jackie asks

Jacqueline (Lee Bouvier Kennedy), (“Jackie”) 1929–94, wife of John F. Kennedy (1953–63) and Aristotle Onassis (1968–75).

What happened? Who done it? the questions on the free worlds mind in 1963 when JFK, Jack Kennedy is assassinated.  It is not often mentioned but the Cold War was in people’s minds so the USSR would not only have eyes on it, they could – though we’re never cited – as possible assassins.  The immediate aftermath is the focus of this story as seen through the eyes of the highly traumatised and troubled Jackie Lee Bouvier, the widow with two small children, Caroline and John.  The world is watching and she is in a state of Post traumatic shock with few medics to help and just the White House entourage to relate to.  No one is close to her except Bobby Kennedy and her aide de camp, the lady in waiting type, Greta Gerwig whose guidance is both practical and humane.  She for instance tells Jackie how to tell the children, in the whirlwind of thought she offers clarity. It is a stellar performance on  Greta Gerwig’s part too.  Towering as she does, over the small grieving woman Jackie/Natalie whose only friend is her. Others to note if only for their presence excepting JFK are  Caspar Phillipson as John F. Kennedy himself, John Carroll Lynch as President Lyndon B. Johnson, Julie Judd as Ethel Kennedy, Brody and Aiden Weinberg as John F. Kennedy Jr., Mathilde Ripley as Jean Kennedy Smith all lurking in the wallpaper of the White House.  When HBO first conceived of the idea along with Darren Aronofsky, around 2010, it was envisaged it would be a four part mini-series, then word got about and grander plans were put together.  While it ‘rested’ at times it eventually gathered the full engagement of LD Entertainment and Wild Bunch with Darren Aronofsky at the helm if not the Directors chair.


The White House

The CBS TV black and White tour fixes us back in the day through contemporary and modern interplay of the actual footage and inserts for the actors which is in grainy b/w and the sound is raw.  Even watching black and white TVs dotted around and particularly one in a g-plan cabinet contrasting with the French decorous style of Jackie contrast and realise the era.  In the Presidens office there are many old maritime portraits of ships with masts contrasting with the decorated heros marine past. Alongside these the massive portrait of Bison and Bison (so singular an animal it retains the name unaltered on plural!) on stampede.  The Oval Office is late in receiving its bold red circular carpet.  The whole replication of the White House interiors was carroed out on the Paris studios. The sound is delicately adjusted from the b/w footage back to a smooth dialogue, say of Billy Crudup and the footage is also integrated extremely well with it having apparently been shot on 35mm film.  I had an issue with the choice of music and while it was not maudlin it was at times irritatingly harsh and unnecessarily present.

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The American Route map to success.

The opening of the film begins on the Presidential plane with the entourage, the full works, preparing to land in Texas to go on that fateful journey into Dallas.  It is visceral expectation of her home state reunion and celebration of JFK having gotten to the White House and this stellar couple being examples of the American dream realised in a form of success matched by smartness and anticipation of a better future.  TV is the elephant in the room.  The intervention and prime inventor of those dreams.  The elephant in the room being the thought – you think you had and you sitting on the back as it’s pilot as it takes you where you think you intended to go – except the elephant is doing all the driving.  As with La La Land all is colour and CinemaScope.  The TV though is still black and white.  The arc of the film is the Life series of interviews and in this immediate period, with use of flashback and CBS footage of a White House tour – a key widening view of the hidden inner workings of the White House – the Life Magazine interview which is carried out by in Massachusetts after the event; only a week actually, with – ‘The journalist’ Billy Crudup  – as end credits have it.  It is of course the Theodore White interview which Jackie Kennedy sought and demanded total control over as she did with the State Funeral which went global in its TV and cinema showing of its extraordinary homage to a leader.


Life (other magazines Time, GQ are available)

Theodore White turns up at her remote lakeside home in Massachusetts at Hygennis Port in a timber colonial style high ceilinged mansion.  The brusque cautious greeting of Jackie is a trigger of thought and disclosure setting the tone and delivering a new way of journalistic intrusion.  Albeit a forthright discussion and serious interview, it is through the personality of Theodore White – whose loose collar and tie belie his penetrative technique – which loosens Jackie tongue and the core innermost telling emotions inside Jackies mind pour out easily.  His technique is simply using a notepad and pen, and his manner is stoic, serious and non judgemental, being notionally slightly deferential although he does not allow Jackie to get away from his inquisitive delving by upsetting her.  He is instead the astute and independent author of her words. Being agreeable is a ploy he will have used many times as a seasoned journalist knowing the thirst for this story and it’s massive trajectory in print. It will be her story, he tells her, as she ruminates over this slackening of the pressures post funeral  and of the historical marker she laid down.  “What I think of history?  Does that make it true?”  Her own struggling with the facts and perceptions. The truth of the assassination is always under the surface. For Natalie Portman  she had the stories to go to as the part was researched by reading the interviews, Her primary source was the seven-part eight-and-a-half-hour Life magazine interview conducted in the early part of 1964 by Arthur M. Schlesinger Jr. with Kennedy. One of three interviews she gave following her husband’s assassination, it was kept private throughout her life – so wiki tells me!

More insights to the way it evolved as a film are interestingly revealed on wiki and this is in a four year period which began with Racheal Weisz in the ‘titular’ part it goes on to – May 2015, Portman was confirmed to star in the film.  That same month, Chilean Director Pablo Larraín was hired having been approached by Darren Aronofsky to direct the film with Aronofsky subsequently working as a piloting producer.

    

Conspiracies aside.

The fact is this film does not dwell on the conspiracy theories or the killer(s) Ruby killing, the alleged assassin Oswald and it is intensely about the choices made in the immediate aftermath.  Natalie Portman is extraordinarily convincing in portraying a vulnerable fragile diminutive wife whose world is shattered and all known compasses are lost.  Portman was working on another film – Planetarium, with Lily-Rose Depp – during pre-production of Jackie in Paris. She prepares in depth for any role, but this one did not allow much time. She read everything she could find and studied footage of Jackie, especially her distinctive voice: silky, patrician and breathy, with touches of Long Island, where Portman spent part of her own childhood. That voice is a huge part of the performance.  Sydney Morning Herald. The strength Natalie Portman portrays, definitely Oscar worthy, is as if she is pulling her up, Jackie up and out of this extraordinary maelstrom event and is breathtaking through its simplicity and nuanced magnificently with subtlety and vocally with gesture, inflection and cadence.  From her adjusting her attire, make up, hair, and walking routine, for the outside world to her rehearsal and rehearsal of the tasks ahead with her lady in waiting, it becomes a legendary performance in itself.

 

Legacy for who?

The Life magazine and TV background of the aftermath is the question Jackie places centrally, concerning the public spectacle and projection of the legacy of her husband. The legacy is prime. She does all she can to make the cavalcade match the Lincoln funereal despite their legacies being poles apart.  With the help of Bobby Kennedy and Nancy Tuckerman, the lady in waiting, in a whirl wind she commands strength and the understandable flaky persona we have insight to, mainly due to the PTSD (as is our probable likely post-overview) which conceals an inner trauma with a sense of self she is continually framing the world view of both herself and Jack John Kennedy.  She and the Life magazine interviews which she retrieves partially – it is the widows prerogative exercised – as she is prepared to deny the journalists writing of it if need be.  This is clear to Theodore White in the journalists role and one he is prepared for.  It is too revealing so soon after the assassination she takes steps to reframe things.  In any event or so it is believed the truth may be revealed in time, however it never has been.


Conclusion ####4

In terms of reality, Jackie herself proclaims it very well, as she knows having been a Presidents wife, Public perception is often far from the truth, the managed truth.  She is at ease declaring the story is servant to the legacy.  The truth is another matter entirely.  The interview which works extremely well as the central plank of the film, is as though the legacy is assured as the fulfilment of what she wished for in terms of the funeral statelike removal of JFK was in itself testimony to the woman’s will and strength. This interview is a tail piece of extraordinary insight and it’s legacy is also hers.  Nancy Tuckerman, the splendidly relaxed and grounded Greta Gerwig is seen remaining and apart, left alone at the White House when Jackie leaves.  Don’t let it be forgot.  The words of Camelot. The invincibibility of the Camelot musical beloved of JFK who played the song, Victrola, as a refreshment after a hard day’s grind, is recalled by Jackie but she’s conscious there will be new presidents but there will never be another Camelot. On the page and of it darkness has its many shades.  The day today is just the first. A remarkable and very touching biographical memoir in a historically vexing film. While many will not be interested in the historical perspective it is a very touching story of how grief of any kind sends new priorities and shapes things so differently going forward.  It as a film asks more questions and is very contrasting for the current inauguration of a world leader going ahead right now.

       
John Graham

19 January 2017

Belfast
On at Queens Film Theatre Belfast from 20 January through to 2 February 2017.  And on wide General release.

What’s not on General release is the ‘road movie’ a political thriller of 104mins. 2016. by Pablo Larrain

Neruda


It’s 1948 and the Cold War has reached Chile. In congress, Senator Pablo Neruda (Luis Gnecco) accuses the government of betraying the Communist Party and is swiftly impeached by President Gonzalez Videla (Alfredo Castro). Police Prefect Oscar Peluchonneau (Gael Garcia Bernal) is assigned to arrest the poet. Neruda tries to flee the country with his wife, the painter Delia del Carril (Mercedes Morán), but they are forced into hiding. Inspired by the dramatic events of his new life as a fugitive, Neruda writes his epic collection of poems, Canto General. Meanwhile, in Europe, the legend of the poet hounded by the policeman grows, and artists led by Pablo Picasso clamor for Neruda’s freedom. Neruda, however, sees this struggle with his nemesis Peluchonneau as an opportunity to reinvent himself. In this story of a persecuted poet and his implacable adversary, Neruda recognizes his own heroic possibilities: a chance to become both a symbol for liberty and a literary legend.

From the fibula.cl website where you can also see trailers of other films by Pablo Larrain like Fugue.
La Casa Films logo is so good I have to show it! 

The range of Cinema in Chile is astoundingly captivating.

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Eden : A Film Review

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Director Mia Hansen Love
cast: Greta Gerwig, Golschiftch Farahani, Felix de Gevry,
Genre: Drama, Music
Language: French with English subtitles
Country of Origin: France 2014 131 mins.

Eden, from French director Mia Hansen Love looks like a movie, vims like a movie and is a visceral blazing dance music festival of a movie.
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Joy and Ecstasy
In around twenty years of Electronica many have wondered how the off mainstream, dance genre, which is a part of global pop music will be retained on film as well as paying homage to the core essence of its obvious record for generations who propelled themselves forward into a new century on the vast issue of tracks and digital recordings at hand.

It was not apparent and there have been lame attempts at what is a block of energetic sound delivered for immediacy, digestion, entrancement and thrill. Enjoyment was the sub-cultural text unashamedly and intuitively correct in the sub-real hotly contested near paradoxical pop music it showed contempt for. Recording companies wished to corner the four to fourteen market and went for it tooth and claw.
The ‘are you into that?’ is never more a reality than with dance.
House was a growing up part for me and you would be able to leave a jazz emporium in London pass a club and hear dance music and be drawn into it straight away. Straight through the doors into a roomful of trance ambient, or a steaming rocking House in ripping loud thunderous classic dance pouring out on conscious peaceable smiling faces in tune with it to the second. It was a fusion of tastes interwoven as never contemplated as technology equipped certain DJs and meritorious musicians to experiment with the veil lifted by the erudite electronic keyboard maestros except no lingering classicism except for Thomas Dolby, other ingenues who would find dance superficial or baseless repetitive soup for advancing sexual relations asap. Attractions and opposites, cliches are thinly persuasive.
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Permacultural Organisms
What we had stumbled across as the lightening rods of this French duo known as Daft Punk colonised as French House. Their clubs named in this party as ‘DJ Cheers’. It scalloping out and presenting the dynamic of American nineties deep house embedded and coded with soul enriched words and recall. Words and recall. What if sister? What if brother?
They are actually referenced come to think of it.
Those words not used but grabbing the what if we were a brotherhood.

It was certainly a time which sought the removal of prejudice, which expressed togetherness, which emitomised, just as the Band Aid thirthieth anniversary fades away an awakening to impoverishment, of exclusion, division, war – the ’19’ of the (the Simon Fuller, 19 Management, Paul Hardcastle encourager found embedded in Amy) struck a colossal vein in popular consciousness which morphed in many directions. Even informing ‘American’ themed disco anthems and their cross appeal.

Tree lined Parisienne Streets.
The wide expanses of the Hausmann Boulevards and small commercial trading streets, of counter revolution and now Le Haines contested areas within the periphique had a bourgeoise set who sought out along with other sturdy and not so sturdy youth a culture not derived from Mitterand and his merry band of Eurocrats.
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Daft Punk
Social thought indeed was in the ‘Air’ (another French electro device) as self confidence after a one man World Cup! – can I lay that down for discussion at least! – a brimful of Zinedine Zidane from Marseille! head butt upfront! brought out a French exuberance once again on the move. Giacometti meet Serge poster culture with a bit of Rough Trade signature self-identity.
Mia’s beautiful vision
The beautifully thought through delivery of a fictional account of the years French House, a repoclaimed Garage Electronic Vocal House albeit nuanced with the indigenous fluid smooth sounds they heard off the local radio from the populations incoming but barely regarded as influential and probably still not.

The permeation was to be embed without knowing. Frankie Knuckles etc. did lay down plenty of the rhythm and soul inflections understood by the French youth while the UK was direct and in your face. So much so it was back at you from the US who recognised the works worth.

The film is like a groundswell of Music. The first tunes hit off in the daylight opening sequence of a gathering through the more parklife tree lined, (London Planes?) into the – and it was the ozone era – where the air got skinned of its protection, our harmful emissions reached towards a revengeful sky, where the lines of Charlie were across credit lines of harmful business and profit was a book to own.

The tunes are the narrative form. They carry the scenes and Mia drops each as an acid drop with splendid servile subconscious alacrity.

The acid is not so deep as to be found wanting or lost. The scene is derived by the fictional account of her brother, Sven Hansen Love who was a DJ of note and merit. The Eden of the title referring to a Radio/Club publication which aroused the senses by written word, contextural art and drafting a of the nearby Daft Punk luminaries.

Who’s in Da House
Time to introduce Daft Punk properly. Da Funk they drop in a home House party. Meet them, Thomas Bangalter and Guy Manuel de IIomen Christo.
Headbangers of corporate idolatry worth. Unlike the fictional character Paul who is so carefully built by the 23 year old actor Felix De Givry who has to cover the whole twenty or so years of Mia and Svens choice of storyboard.

Each delivers. The point is that the music in essence delivers. It is not full of or has any undercurrents of angst, Prodigy, Underworld come to mind but is up front fusions of joyous sounds making for the first time globally probably French music a serious common bonded sound. How else would it go down so well it hard on United States of America in the home of House, Disco and Dance. It grooved and caresses. It was loud while it did it with no hang up chords or lack of creativeness.

Paul delivers. Sven has his own account of club success and this story has the pairing of Paul with Stan, played by ..who is his encouragement along with Clive another partner in the Club nights which shine. Where is that name derived? They call theirs Cheers. Sort of Aquaplane (Danish) good it’s that bad as a name!
They set up club night high in production values. Not Stockwell! Boston! Hoxton! Sweaty! Non-stop partying. chill and outdoor jeanesse dori blend into the noise and only occasionally does a guest get off their head on screen. The acting of the Mia gathered youth are remarkably well behaved and they dance themselves alarmingly like naturally beguiled lovers of the genre.

These are of the current era made up to be of the former era showing the music is so familiar and loved as to wish a revival of sorts to happen. It looked so innocent but plainly wasn’t. Lots of harm through its drug use and dependency put many into an early grave.

The DJ of Paul’s time worked hard and the labour of love meant he could not pay attention to the love in his own circumference. The adorable, adored, partnerships are true shapeshifting. The loss of his first true love Julie, an American already divorced and who gets his talent is what drives him and returns to America to follow her own goals. The next is the childlike presence of a woman earthling Parisienne girl who also shares his music pedigree but eschews all that it sits alongside. She gives him space and he develops because of her catch a mood wisdom.
A Story in two Parts?
Binary is a recent theme, Love and Mercy, Amy and Mitch, Back to Black, Sid and Nancy, Daft (binary) Punk, Paul and Stan, so this is again perhaps a kind of reflection forward.
The relationships are not so carefully balanced though the synergy is.
They are suited. So it is throughout the film. That he finds love in his life but has another love which he – and because of its acceptance and maybe even being able to make numerous people happy – at the expense of the other and for a part his own mother, his own self worth is undercut.

The success of tracks and his club takes him across to America where again a daylight festival, filmically beautifully choreographed human in scenic harmonious dance sequences at MOMA PS1 courtyard plays out as a
natural segment with Mia’s touch excelling here in both the music and interwoven storytelling pace of her holding onto the challenges at ever encounter.

New York, New Times.
The Paul we know, love and trust is in a difficult place and his own refusal to confront what troubles him and face the loving faces staring back at him is heart felt. Young French actors I have noticed don’t do anger convincingly as they try to hard to be ‘honest’ while simply having taken too much of this that or the other and senses have gone to s*** while the taxi(s) or friend rescue them without much in the way of repercussions.

Not exactly a homage to the delirium delinquency, sangfroid, raw mouthed French unspeakables I have encountered in a blessed return to the world.

The true tried tee shirt thievery is ubiquitously labored or is that just French dressing? Sangfroid gestures are no usual but bad manners and lack of recall are fail safe mechanisms deployed by the French and possibly to a greater extent than others.

The story as this repressed editorial account is struggling to explain for you – the story is good well received baleful and a bit clean – the music is monumentally blissimo innocentia reality fast rhythmic creative vibe full – is paced extremely well and directed knowingly skillfully and very expressively human as to reach where other music films leave you cold.
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Mercy,Mercy.
It is split into the parts of Paul’s life where he is mature and childlike at the height of his musical powers – I detected a downward element to the work later as it went on his own productions – to the aftermatch of money being soaked up by extinctions of guestlists – some nights were the leggy models and dancers drank fluid gold and snorted free gear as complimentary incidentals. To the inevitable turn in fashionable gatefillers, to real life booking of ‘names’ for fortunes and small return took it down to an unrecoverable set of circumstances business wise.

Stop to move on
The dryness at the end was an awakening and there was no trailing over the debris as we had seen the slow demise through these zestful eyes.
The photography slowed to a turning tide and some recall was occasionally invite with the Daft Punk pairing appearing every so often as rudders on another ship.
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Conclusion #####5
It is worthy of a five in this (locally) mixed bag Summer.
It reminds us when massacres didn’t appear on beaches along with refugees struggling across continental Europe were never envisaged nor were we mistaken that globally mankind was an outfit which can and ultimately will be the suitor to heaven or a vanished planet. This is the story of a youthful experience.
It is a tender well handled tale thoroughly intelligently written and directed with the deft and utterly convincing playing by the principals who along with the extras equally bring to life that hope which this generation. Now hopefully and do have to hold dear as they venture forward.

Once John Lennon explained it for use.

‘Life is what happens when your making plans.’
John Lennon

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Through the train window on route to Washington.

John Graham

23 July 2015

Belfast

Opens this Friday night at QFT Belfast and on general release from then.
GET THE FULL HOUSE SOUND BY SEEING THIS FIRST TIME ROUND IN A CINEMA GET INTO THE SOUND AND SOAK IN THE EXPERIENCES AS THEY WERE MEANT TO BE RECEIVED FROM THIS GENUINELY GENEROUS CAST AND CREW.
House full so Eden TV
Provides a soundtrack for you
TRACKLIST

EXPERIENCE THE SOUNDTRACK AT
GLOBALFREQUENCY.TV/EDEN
‘Eden boasts a truly outstanding soundtrack’
BEATPORT
JAYDEE Plastic Dreams (original version)
SUENO LATINO Sueno Latino (illusion first mix)
ALY US Follow Me (club mix)
THE ORB A Huge Evergrowing Pulsating Brain That Rules From The Centre Of The Ultraworld (Orbital dance mix)
FRANKIE KNUCKLES The Whistle Song (original version)
AARON SMITH FEAT. D’BORA Going Round (UBQ original mix)
JULIET ROBERTS Caught In The Middle (gospel revival remix)
JOE SMOOTH Promised Land (club mix)
LIQUID Sweet Harmony
CATALAN FC & SVEN LOVE FEAT. NICOLE GRAHAM Private Number
DAFT PUNK Da Funk
JASPER STREET COMPANY Solid Ground (Spensane vocal)
ROSIE GAINES Closer Than Close (mentor original)
MK The MKapella
BRYON STINGILY Get Up Everybody (parade mix)
DAFT PUNK One More Time
THE AFRICAN DREAM Makin’ A Living
CHARLES DOCKINS Happy Song (4007 original mix)
TERRY HUNTER Sweet Music
JT VANELLI The Cricket Song
WATANABE Odoru (unreleased version)
CHEEK Venus [Sunshine People Cheek] (DJ Gregory full length mix)
KINGS OF TOMORROW Finally (original mix)
OCTAVE ONE FEAT. ANN SAUNDERSON Blackwater (string vocal mix)
JON CUTLER It’s Yours (original distant music mix)
VIOLA Little Girl
THE STYLE COUNCIL Shout To The Top
MASTERS AT WORK FEAT. INDIA To Be In Love (12 inches)
ANGIE STONE Brotha (DJ Spen & Karizma remix)
LOVE COMMITTEE Just As Long As I Got You
LEE FIELDS & MARTIN SOLVEIG Jealousy
CRYSTAL WATERS Gypsy Woman [La Da Dee] (basement boy strip to the bone mix)
DAFT PUNK Within
PAUL JOHNSON Tak A Lickin [and Keep on Ticking]
DAFT PUNK Veridis Quo
JOEY BELTRAM Energy Flash
JABBERWOCKY Photomaton
POLO & PAN Rivolta (get a room! remix)
KENNY BOBIEN Amazing
ARNOLD JARVIS Lost In Love
KERRI CHANDLER We Are [I’m Here For You]
TERRY HUNTER Your Love

BLISSIMO AGAIN BROUGHT THROUGH EDEN TV

MAIN CAST

PAUL Félix de Givry
LOUISE Pauline Etienne
ARNAUD Vincent Macaigne
CYRIL Roman Kolinka
STAN Hugo Conzelmann
ANAI’S Zita Hanrot
THOMAS (DAFT PUNK) Vincent Lacoste
GUY-MAN (DAFT PUNK) Arnaud Azoulay
GUILLAUME Paul Spera
QUENTIN Ugo Bienvenu
HERVE Sébastien Chassagne
NICO Laurent Cazanave
ANNE-CLAI RE Signé Bouaziz
THEODORA Léa Rougeron
ESTELLE Olivia Ross
BASTIEN RADIO FG Pierre-François
MIDORI Garel Claire Tran
RENEE Arsinée Khanjian
JULIA Greta Gerwig
Brady Corbet
MARGOT Laura Smet
YASMIN Golshifteh Farahani