Top 11 films by Jean-Louis Trinity; From the intellectual actors of French cinema (portrait of an actor)
What a period of the lively decades of 1950, 1960 and 1970 in France and its cinema. An era in which men and women came together in every corner and created a cinema that stands as long as the cinema exists and does not grow old. These men and women have each become professional stars, and now, decades later, they are filling in the gaps, leaving fans alone in their solitude with that unfortunate past. Just a few days ago, Jean-Louis Trentinan, a great actor who was a product of the same era and cinema, passed away. A few months after Jean-Paul Belmondo, another generation. This list includes the Top 11 films by Jean-Louis Trentinian.
- Brad Pitt's Top 13 films From worst to
best (portrait of an actor) What comes to mind the
name of Jean-Louis Trentinan? French acting as
Italian men? The penetrating eyes behind those black glasses in the
movie "Zed"? Is a smile always bitter? His torn larynx in
Kurobucci's immortal masterpiece and the lock on his mouth, or his
strange love in his last major appearance on the screen in "Love"
in his old age? Certainly all of this and more; Isolation and
escape From fame. The fact that he did less interviews
during these years, that he did not give in to the yellow news,
that there was always a level of standard in his work, and it is
strange that he worked with great directors more than any other
actor in French cinema. p>
The list of movies in which he has appeared is really enviable. Both the New Wave directors of French cinema, the mainstream directors and the Italian directors loved to work with him, and this left him free to choose freely and not to participate in any project, and this is what has made his record so brilliant.
His acting persona was not as lively as that of Jean-Paul Belmondo, nor as talkative as Alain Delon. It was somewhere between the two spectrums. In the movie "The Great Silence" where Lam is not talking to the mouth and in the movie "The Follower" he is constantly talking, arguing and bargaining; Or with his teacher, or with his wife, or with his superiors. But there is something fixed in this; The penetrating eye, which is the greatest treasure of any actor, the eye that can express any emotion beyond words.
An actor with the spirit and personality of Jean-Louis Trentinian can only be born in the cinema of a country like France. Where acting, like the rest of the world of cinema, has an intellectual effect and, like America, is not limited to stardom and constant presence in front of the camera. He lived like a real artist and people treated him like a real artist. He never made a name for himself in the face of ugliness, and although he lived in mourning the loss of a child later in life and rarely appeared in a film, he left a precious legacy of acting that transcended borders and found global audiences.>
11. Love (Amour)
- Director: Michael Hanke li>
- Other actors: Emmanuel Riva, Isabel Hooper
- Product: France, Austria and Germany
- strong> IMDb movie rating: 7.9 out of 10
- Movie rating on Raton Tomitoz site: 93.
Michael Hanke has always sought to discover the roots of violence in his films. He has tried to find an answer to why a person commits a crime in today's seemingly modern society. Hanke sees this harassment not only in terms of what happens inside the frame, but also tries to apply it in the form of his work. He had given a first-hand and, of course, bitter account of love that was as frightening as it seemed strange. His film shone in the world and made the audience happy.
In this film, Jean-Louis Trentinan appears in the role of an old man of art and music who has to take care of his sick wife. His acting in old age, along with his other generation, Emmanuel Riva, has made "Love" a rich film in terms of acting. Together, the two have managed to do exactly what Michael Hanke had in mind. Riva, with an accentuated face alongside the always-anxious Trentinians, struggling with deep and inner strife, has appeared in such a way that no one else can be considered in their place. In such a context, the extraordinary Isabel Hooper is added to this group so that the movie "Love" is really enviable in terms of its cast.
Is. Hanke sees this annoyance not only in terms of what happens inside the frame, but also tries to apply it in the form of his work. He seeks more to make us think, both of how evil arises and of its consequence. With the film "Love", he tries to create ambiguity about his characters and story and avoid any explicit comments. That's why his film space is straightforward It is influenced by the artistic current of European cinema rather than the storytelling and open cinema of America. The film, which had grossed at European festivals but apparently had little to do with American art, won the Palme d'Or for Best Picture and the Palme d'Or, becoming Jean-Louis Trentinen's latest major film as an actor.<"Two old musicians who got married years ago live together. They have good memories of their past, and that's their consolation in old age. Until the woman has a stroke and loses the ability to speak and of course her movement. The man has to take care of her at this age, but
10. Bad Girls
- Director: Claude Chabrol
- Other actors: Stephanie Ardan, Jacqueline Sasaro
- Product: 1968, France and Italy
- IMDb movie rating: 6.9 out of 10
- Movie rating on Raton Tomitoz: 77.
It is in this context that one of the most important works of this filmmaker is admired We are facing the French. The story of the film is clearly about two women From two classes and From two generations. The older and richer woman tries to feel young again by capturing the young girl, and as soon as she sees that the girl becomes a rival for her, they reject her. At the center of the controversy is the two men, played by Jean-Louis Trentinan. This man unknowingly finds himself in a situation that has little effect on its emergence and does not know what is going on between the two women. It is in this atmosphere that Jean-Louis Trentinan also plays the role of a deceived man and the role of a bourgeois architect.
"A woman named Frederick meets a girl named Wai. Frederick is rich and owns a villa outside the city, and he is a street artist. The two go to Frederick's villa while the other two female friends are there. One night, Frederick arranges a party, and at that party, he meets an architect and they leave together, but
9. Trans-Europ-Express Train
- Other Actors: Charles Milo, Marie-Franois Pacier
- Product: 1966, France and Belgium
- IMDb site rating for movie: 7 out of 10
- movie rating for Raton Tomitoz site: -
Alain Rabb Crying Before entering the cinema, he was one of the most important writers in France and was one of the most important figures in the new novel in this country. His works were influenced by postmodernist currents in literature and were always considered by the great French literary critic and theorist Roland Barthes. He even started writing when he entered the cinema and wrote the screenplay for "Last year at Marienbad", which is known in the world of cinema as one of the most important films in the modern cinema.
From this screenplay, one can understand the writing style of Alan Rabb Cry in Literature. Rabb mixed tears with reality and fantasy, and paid little attention to the realist current because he believed that realism could not tell all aspects of reality. In the script of "Last Year in the Marine Wind", he used the same pattern and integrated fantasy with reality. The movie "Train "Fast-paced Europe" is made with the same experimental attitude. The film has virtually no plot and escapes the usual flow of cinema. For this reason, it has a special place in modern cinema.
Many believe that Allen Rabb saw the cry of cinema in the continuation of literature and that is why he used it in his stories. For example, the same movie "European Express Train" is basically about writing and writers, and the story does not matter much. The three writers bargain inside the train and talk about a common story, which is revealed between pieces of each story. Some may be repulsed by such a cinema, but it cannot be denied that the director has done a great job of creating the atmosphere and making a film that satisfies a consistent audience despite his experience.
So perhaps the film "Europe's Express Train" He called it a film-in-film work, or even a work that uses Brechtian distancing techniques to keep the audience at a distance From the story. But if you look closely, this is a film in praise of storytelling and storytelling. Jean-Louis Trentinan plays a drug trafficker in the film. The film is not interested in characterizing him in the usual way because he is a raw character who must remain raw. After all, he is a character who has not yet been formed on paper by those three writers. A current that, less than the directors From Kaye Do cinema magazine, loved cinema itself and saw it as very close to literature.
"Three writers board the train and start writing about international drug trafficking." "The film shows the performance of all three versions, and in between, the corrections that the authors make to discuss with each other are shown."
8. Finally Sunday (Vivement Dimanche)
- Director: Franois Truffaut
- Other Actors: Fanny Ardan, Colin Sihol
- Product: 1983, France
- IMDb movie rating: 7.2 out of 10
- Movie rating on Raton Tomitoz: 78.
Franois Truffaut was another great French director From the New Wave of Cinema, with whom he worked with Jean-Louis Trentinan. Although the film has little to do with cinema and was made many years after the fall of the New Wave, Franois Truffaut was one of the most important filmmakers of the current, whose film "400 Beats" made the wave global, and the people of the world became familiar with it. Truffaut believed in the views of this era more than any other director, and more than any other director of his time, he fought and took the time to keep his thoughts alive. It is no exaggeration to say that cinema was his whole life and he lived with it.
After gaining fame From the New Wave, Truffaut went on to make films that could express both his personal views and Entertain the audience. Because he did not seek to interfere with mainstream cinema at all or to enjoy the whole of audience-friendly cinema; What his friend and contemporaries, Jean-Luc Godard, were doing. That's why a seemingly ordinary comedy like "Finally Sunday" is among his works.
"Finally Sunday" was released confidentially "confidently yours". Truffaut adapted his film From a book called Long Sunday Night by Charles Williams, which tells a crime story in humorous language. The film is a glorious return to Truffaut's favorite cinema; The same cinema owed to the great Alfred Hitchcock that Truffaut loved so much and actually worshiped. Also, "Finally Sunday" is a good noir work. Especially the black-and-white cinematography of the film, which, with the director's masterful work, reminds the audience of the heyday when noir cinema detectives sought to solve a case to the end of the world.
Jean-Louis Trentinan Played by a man named Julien Versell who is accused of murder. He is hiding in his office while his secretary is trying to solve the case. In such a context, Jean-Louis Trentinan has presented a good game in the form of a man who can not do anything and is helpless. The actor's penetrating eyes are useful in such places; Just when his characters are desperate and overwhelmed and have little hope, and the owner of those eyes has to convey a few different feelings to his audience just with his face.
"Finally Sunday" by Franois Truffaut's latest film He was the director. A movie he himself did not like, but it is an invaluable jewel that will get you a lot of money.
"Julien Versell is a home saleswoman who returns to her business after hunting near a lake. Upon his return, he discovers that a man has been killed in the hunting area at the same time, and all the evidence shows that he is a murderer. "While Versell hides in her office to avoid being arrested by the police, her secretary Barbara seeks to solve the mystery of the man's murder"
7. Three colors: red (Three colors: Red)
- Director: Kristoff Kieslowski
- Other actors: Irene Jacob, Jean-Pierre Laurie
- Product: 1994, Switzerland, France and Poland
- IMDb movie rating: 8.1 out of 10
- Movie rating on Raton Tomitoz site: 100%
What comes to mind From the paragraph above is the importance of human relationships in these films; Seemingly simple relationships that can be both exciting and can push a person to the brink of complete collapse. In "Red," these relationships focus on more characters; Characters who each go through difficult times and help each other without knowing each other in advance. In Kristof Kieslowski's view, nothing is more beautiful and at the same time more mysterious than these ordinary everyday relationships in a normal life, and he tries to express the complexity of these relationships in a pictorial way.
In this film, Jean-Louis Trentinan plays a retired judge who spends his free time eavesdropping on people. In this way he gains a better understanding of the issue of judgment during his career. On the other hand, he lost his love life at a young age and has never been able to stand up after that. Jean-Louis Trentinan in "Three Colors: Red" is perhaps his best acting role in his old age. The period of puberty that is evident both in the behavior of this beautiful actor and in his words.
"A girl named Valentine is suffering From a distant relationship with her lover. His lover, who lives in England, thinks that Valentine is betraying him while he is away. Valentine is confronted by a retired judge who has a strange life. The old man, who lost his love at a young age, spends his days and nights eavesdropping on neighbors' telephones. In Valentine's neighborhood lives a young man who is studying to be a judge; She, too, has recently separated From the love of her life and seems to have set foot on the old man's path
6. Z (Z)
- Director: Costa Gauras li>
- Other actors: Yves Montand, Irene Papas
- Product: 1969, Algeria and France
- strong> IMDb movie rating: 8.2 out of 10
- Movie rating on Raton Tomitoz: 94.
Costa Gauras is best known for his just thinking. He is a director who openly believes in leftist ideas and has no interest in hiding them. As a young man, he was interested in socialist revolutions in different countries, and he showed this by making films such as "State of Siege" and the same film "Z" or "Lost" (missing) starring Jack Lemon. Dad. In "Martial Law," starring an adventurous actor like Yves Montand, he strikes at the heart of the Uruguayan revolution and paints a realistic picture of US interference in these movements; Interventions stemming From fears of socialist governments coming to power in American privacy. The film "Lost," which basically portrays a bitter picture of the torment that these interventions inflict on the souls of its American citizens. The film is practically divided into two completely separate parts. In the first part, a popular movement is trying to legally seize power in a hypothetical country. The leader of the movement, played again by Yves Montand, is assassinated by unknown assailants after the party's ceremony was violent, and From here begins the second part of the story, which is accompanied by the arrival of an interrogator. The film "Z" clearly shows the events that took place in Greece during the dictatorship of the colonels, which was a government based on military power. Costa Gauras's camera does not hesitate to stand in a certain direction and defend it. Why so In front of it is an oppressive force that has no smell of humanity. In fact, Costa Gauras portrays one side as very human and the other side as animals that are sometimes stupid. His play in the form of this interrogator may be his best play. Although his portrayal of Bernardo Bertolucci, who also topped the list, is his most famous role in the history of cinema, there is no denying that he portrays himself as a very smart man who pulls our hair out of us. Now it can not be bought in any way and it believes in justice, it is a better performance. Again, his penetrating eyes work From the post of those thick glasses and create the image of a man who is very self-confident and does not allow his emotions to hinder his work.
"Z" won the Oscar for Best Foreign Language Film He acquired the language in the same year, and the play of Jean-Louis Trentinan became very popular all over the world. Costa Gauras is also the most exciting film on this list. I guarantee you will not blink while watching the film.
The soundtrack was composed by the late Greek composer Mikis Theodorakis, one of the greatest soundtracks in the history of cinema.
He is assassinated during a speech in the street in front of his speech. While the crime scene is very crowded and there is chaos at the time of the crime, an investigator is assigned to follow up on the murder. But in addition to the hustle and bustle of the crime scene, there are obstacles in his way. It seems that influential and powerful people do not like the truth to be revealed, but
5. A Man and a woman
- Director: Claude Lellouche
- Other Actors: Anouk Ameh, Antoine Sierra
- Product: 1966, France
- IMDb movie rating: 7.5 out of 10
- Raton Tomitoz movie rating: 75%
"A Man and a Woman" is one of the greatest French romance films in the history of cinema. A work that won both the Academy Award for Best Foreign Language Film and the Academy Award for Best Screenplay. The story of the film is the story of acquaintance; A man and a woman get to know each other and after a while, they face emotional obstacles. The two, despite their desire for each other, have to remove obstacles in front of them, but this is not so easy to do; Because these are internal barriers and deal with their spirit.
The story is a familiar story. What makes the film an important work is Claude Lellouche's fascinating approach to storytelling; For him, his characters and circumstances are the most important thing in the universe, and he treats them in such a way that one can see his deep feelings for his creatures. There is less such a factor in filmmaking. Some filmmakers deliberately distance themselves From their characters and try not to get caught up in their emotions, and of course many just do their job and, like a craftsman doing a job, finish their work and leave.films and Trentinan had solidified his position at the time) as well as his beautiful soundtrack. Be considered a serious work. But over the years, the critique has become hollow, as both the characters are still tangible and the film is still working. Is a car racer. His character is sad. The grief that is remembered From the death of his wife, and again the bright and penetrating eyes of Jean-Louis Trentinan come to him so that he can convey this grief to his audience. On the other hand, he gradually falls in love and you can see the evil light in his eyes; What a blessing it is to have such eyes for an actor. be. In the next meeting, the two will get closer to each other. In this meeting, Jean tells her that her husband has committed suicide and she also tells about her husband's death. The relationship between the two gradually becomes serious, but she says that she can not fall in love again because of the memory of her late husband
4. And God created woman
- Other Actors: Brigitte Bardot, Cord Jorgens
- Product: 1956, France
- IMDb movie rating: 6.3 out of 10
- Movie rating on Raton Tomitoz site: 71
The name of the movie "And God Created Woman" that everyone remembers is Brigitte Bardot; It seems that this film was made to admire this famous French actor. cinema audiences once considered her the most beautiful woman in the world, and at a time when there was no longer any news about Marilyn Monroe, they considered her a successor. Brigitte Bardot generally played the role of independent women who were reckless and, of course, their physical beauty was more of a nuisance. This went so far that French filmmakers, as soon as they encountered the character of a seductive woman in a script, considered Brigitte Bardot to play the role. It seems that this beauty was more of a problem for the actor than a success.
In "And God Created Woman", all of this can be identified. Bardot plays a woman who, despite many difficulties in life, raises two brothers; But the filmmaker's approach to portraying this aspect is not negative at all, but rather praises his power and independence. From this point of view, "And God Created Woman" is a radical work in its time because it is far ahead of its time in showing a woman's powers as well as her courage in showing her sexual desires.
In addition to all These films "And God Created Woman" are very close to the French New Wave cinema in terms of structure and production. Young actors and leading screenwriters and the use of the real environment all make it one of the families of this important current of French cinema in the next four or five years. For this reason, watching movies is essential for those who are interested in New Wave cinema; Because it reveals its roots.
In addition to Brigitte Bardot, "And God Created Woman" made the young Jean-Louis Trentinen famous. He was a novice actor at the time and was still a long way From maturing at his peak. But he was very lucky to play one of his best films at an early age; Although under the shadow of Brigitte Bardot.
"Antoine promises Juliet, an eighteen-year-old orphan girl who is going to live in an orphanage, to save her From the orphanage. But Juliet's stepmother is trying to prevent her From doing so. Antoine's younger brother, Michelle, intervenes and promises Juliet that he will marry her, and Juliet agrees. This brings the two brothers together
3. My night at Maud's
- Director: Eric Romer
- Other actors: Franois Fabien, Marie-Christine Barrow
- Product: 1969, France
- IMDb movie rating: 7.8 out of 10
- Movie rating on Raton Tomitoz site: 95%
Eric Roemer was one of the most important filmmakers of the New Wave, who, like the rest of them, started his career in Kaye Do cinema Magazine and wrote about films under Andre Bazin, and later turned to filmmaking. Of course, he was also the quietest of them all, and based on his films, he was much more compact than the others. In his stories, the man and his problems are at the center of the drama, and instead of relying on their actions or concentrating on emotional emotions, the film focuses on the characters' gestures and pauses, and ultimately their existential conflicts. For this reason, he was noticed later than other New Wave filmmakers, but during his nearly forty years of activity, he left us a treasure trove of brilliant works.
"My Night at Fashion" is the fourth film in the series. There are six films about Eric Roemer's ethics. The first was The Bakery Girl If Monceau in 1963, and the last was 1972's Love in the Afternoon.
My Night at the Mode is a dialogue-filled narrative of three people trapped in the purgatory of a relationship. People with mental disorders who do not know what they want From life and eat and suffer From something inside them. In order for the audience to get involved with the film and understand these inner conflicts, Eric Romer has made a calm and patient film that the entertainment audience may not like. The film's characters are constantly talking and weaving philosophy, but that's exactly the strength of Eric Roemer's work. He works so magically with people and characters that their concerns become the audience's concerns and they watch their story to the end. And does not know what to do. This situation is a good opportunity for him to appear in front of the camera in the best way with the magic of his eyes. His cold, soulless eyes indicate a deep inner conflict, but at the same time the audience feels that the owner of these eyes can also release a lot of energy; In fact, although his appearance says nothing, his inner struggle may end in action at any moment. Well, putting these contradictory feelings into action is exactly what makes Jean-Louis Trentinian a great actor.
"A Catholic man and Believer recently met a girl named Franois and intends to marry her, but has not yet stepped forward. One day he meets a friend and the male friend is invited to his lover's house called Maud for dinner. During the night, the three engage in a serious discussion about philosophy, and when the blizzard begins, the man is forced to stay overnight
2. The great silence
- Director: Sergio Kurobucci
- Other actors: Klaus Kinski, Frank Wolf
- Product: 1968, Italy and France
- IMDb movie rating: 7.7 out of 10
- Raton Tomitoz movie rating: 100%
"The Great Silence" alongside "Django" is one of Sergio Corobucci's masterpieces and is one of the exemplary films of the genre called Western Spaghetti. At a time when the Americans were not much involved in making Westerns, the Italians stepped in and, under the direction of Sergio Leone and Sergio Corobucci, left works that became an important part of the history of cinema.
Composition It's weird. A weird, Western actor like Klaus Kinski, best known for creating the crazy characters in Werner Herzog's films, sits next to a handsome and dignified actor like Jean-Louis Trentin. Such a mix of actors tells us what we are going to face. Trentinans do not say a word in this film. He has enough time to play only with his eyes. His eyes in this film are about a bitter past, the sadness of which still bothers the character. In such a context, he has presented one of the best games of his career. There is heavy snow. At the same time, we are not going to encounter a conventional western whose characters are symbols of good and evil, and at the end of the good side of the story, it brings good back to the city by crossing the barrier of problems. For this reason, the characters in the story are not supposed to be very moral, and only their opposition to each other and their distance and proximity to the good pole of the story determine their relationship with others.
Reminiscent of Western spaghetti films, especially the work of Sergio Leone (remember the music of "Good, Bad, Ugly" or "For a Fistful of Dollars"). But he not only honored Leone's spaghetti westerns with his instrumental songs, but also with other Italian filmmakers in the genre, and made one of his best compositions for the same film, The Great Silence.
Perhaps Kurobucci today We know him for his films, especially Django, thanks to Dean Tarantino, but he is the most important Western spaghetti filmmaker after Leone, and happens to be more direct in his storytelling; In the sense that his stories deal with fewer twists, but the thrill of the film is just as high. Furthermore, his name and memory should be cherished for preserving the Western genre after its decline in the United States; Because it was not clear that without him, even Leone and, by nature, Eastwood would exist as one of the main symbols of Western cinema.
Be interested in cinema. This is when the Italians come in and seize the genre in their favor. The difference between these westerns and their American counterparts is that different cultures and interests are involved, otherwise these filmmakers would have admired those masters.
In this colorful and glazed western, Kurobuchi tells a criminal story that One end is tied to revenge and the other end to hatred. But the most important perspective of Kurobucci's work, which can also be identified in this one, is the nihilistic aspects of the stories and the atmosphere of the films. There is no news of a relaxed and waiting world in the background of people's conflicts, and with the departure of the heroes, nothing will see the color of calm.
Even in the revenge and actions of the men in the story, there is no meaning. These are moving dead people who are showing something that the situation has created for them and they seem to have no choice, otherwise there is no purpose in their behavior.
"In 1898, a dumb shooter is hired by a widow. To avenge her husband's death From a group hiding in the mountains of Nevada
1. The Conformist
- Director: Bernardo Bertolucci
- Other Actors: Stephanie Sandrelli, Gaston Mushin
- Product: 1970, Italy, France and West Germany
- IMDb movie rating: 7.9 out of 10
- Movie rating on Raton Tomitoz site: 98%
Bernardo Bertolucci by making "Follow" tells a part of his country's history that is more tied to the concept of violence and bloodshed than ever before in contemporary Italian history. He is supposed to tell the story of a murderer who does his best to lead a normal life. But the filmmaker does not do this in the usual way. Hired for fascist ideals, this assassin is different From the people we see in other films with such characters. He is neither a criminal nor a heartthrob. He just wants to be normal and live a normal life, but unusual circumstances cultivate unusual people so that they see normalcy not in having a normal life, but in committing a crime.
In fact, in the film. Following in the footsteps of Bernardo Bertolucci, he enters an era in which being the same color as a congregation means reversing the course of a normal life, and thus strikes a system in which one's worth is measured not by one's personality but by the degree of sacrifice to criminals. It becomes. In such a framework, his dealings with other people who have adopted a different way of life and enjoy their lives and do not think only of party ideals, all his thoughts are disturbed. This clash of two perspectives marks the end of the film's thrill.
The role of this compelled man is played by Jean-Louis Trentinan. The more the story progresses, the more the character thinks about the consequences of his actions and the more he realizes that he has misunderstood the meaning of the ideal and purpose of life. The fascist apparatus wants a blindfolded man, but he does not want it to be so, but he likes to believe in a peak. This is why his internal conflicts begin and Trentinan also puts the finishing touches on the portrayal of these conflicts. He is well able to play the role of a man who is constantly suspended between heaven and earth and can never make his own decision. This perception of the character being in the air and trying to expand it has enabled him to overcome the role and create a unique image of a man who has lost everything due to stepping on the truth.
The film portrays fans of fascist ideas as either blind or like the father of a mad main character. In the masterpiece sequence, Marcello, in the presence of his former master, offers an interpretation of the lack of truth-seeking in Italian society at the time, which can give these blind and deaf people a bitter meaning. They are all the same people in the chain that Marcello imagines in his cave that they have never seen the real light and can only imagine it. The quality of the images he captures is in perfect harmony with the film's turbulent story and, of course, its cold atmosphere, and in line with the icy inner workings of the main character. Marcello, the main character of the film, is a man who never stands his ground with all his might. He is always a fugitive From what has happened to him in the past, and for this reason he seems to have been frozen in the past and has not progressed emotionally. Vittorio Storaro's camera tries to create the same freezing, and it is impossible to stare at the frames he made and not feel the cold in space.
It is Mussolini time. He goes to Paris to assassinate his former professor. "In the meantime, we see different images of his life, such as when he joined the fascist organization or his encounters with his mother and his marriage."