Name: Life Doen't Scare Me
Director: Noémie Lvovsky
Released: 1998
Duration: 1 h 51 min
Cast: Jean-Luc Bideau, Julie-Marie Parmentier, Magali Woch, Ingrid Molinier, Camille Rousselet

Jean-Luc Bideau

Julie-Marie Parmentier

Magali Woch

Ingrid Molinier

Camille Rousselet

Valéria Bruni-Tedeschi

Marie-Armelle Deguy

Luis Rego

Marina Tomé

Emmanuelle Devos

Jacques Spiesser

Sarah-Marie Julich

Chloé Mimaut

Valérie Mairesse

Four young girls become best friends. This is a story about friendship, youth and adult life.

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Life Doen't Scare Me

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VF - SD

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Jean-Pierre Moriaud

On the 100th anniversary of the founding of a watchmaking company in Geneva, Charles D&eacute; the founder&#x27;s 50-year-old grandson has had it: he speaks eccentrically to a reporter, recognizing his grandfather as a craftsman and his son as a businessman, but is evasive about himself. He gives his family the slip and moves in with a young couple he meets by chance, doing the cooking, reading, drinking, and engaging in philosophical discussions with them. The young couple comes to love Charles. In secret, he stays in touch with a daughter, and the rest of the family hires a private investigator to find him, setting in motion a business take-over that threatens his Bohemian happiness.

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Daniel Martin

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Roy Scheider

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Myriam Boyer

Daniel Auteuil

André Dussollier

Brigitte Catillon

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VF - HD

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Dominique Labourier

Raymond Bussières

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Jacqueline Moore

Michel Cassagne

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Sélectionné en compétition au Festival de Cannes en 1972, « Les Arpenteurs » de Michel Soutter est l’un des films les plus emblématiques du nouveau cinéma suisse. Pour ses travaux de restauration, la Cinémathèque suisse s’est basée sur le négatif blow-up 35mm et le négatif son optique provenant du fonds Schwarz. Une copie provenant du dépôt du Département Fédéral de l’Intérieur a été utilisée comme référence pour l’étalonnage ; la comparaison s’est effectuée avec un appareil Arri qui permet un arrêt sur image. La numérisation en 2K a amélioré la netteté de l’image en comparaison avec les copies 35mm, rendant à nouveau visible le grain de la pellicule 16mm utilisée lors du tournage. Les « défauts » d’origine (incohérences au niveau de l’éclairage, faux raccords, etc.) ont été maintenus.

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