Alessandro Borghi, Felix van Groeningen, and Charlotte Vandermeersch

“It's an amazing movie, right? Oh really? Yeah, you don't know it? No, I didn't see that. I haven't seen it either. You haven't guys? Naked. That's why I picked it. Well, you should take it. It's a lot of nudity in it?, this is a good question. Emotional nudity. It's very raw. Very little nudity.”

“Because it's the only one [Alfonso Cuarón]'s movie that I didn't see. No? Yep. And it's Felix's favorite. Oh really? Yeah, it's a song about friendship.”

“Have you guys ever seen The Piano? No? What? It's really special. I first saw it when I was 13 and it's full of desire and it's also exotic in some way, set in the 19th century I think in New Zealand. Holly Hunter's caught in this longing between the man that she's supposed to marry and then Harvey Keitel and then the music of Michael Nyman. I've played it for years on The Piano. There's so much erotic tension and desire underneath the surface.”

“The Fisher King. I know you have it. Tell us. Like I think 12 or 13 years ago when I was studying acting, my professor asked me to make a scene of this movie that was so difficult. There is a very complicated scene with a phone call, very complicated, and I was so scared about doing that. I remember that feeling and right now thinking about that, maybe I would like to do that in my mind because it's related to the sensation that I have related to the acting.”

“I'm pretty intrigued by this Dietrich and von Sternberg in Hollywood. Six films restored. Only here you find this kind of thing.”

“Where are the Wong Kar-wais? I saw Wong Kar-wai here, In the Mood for Love, and with the restored ones, wow, 4K. He worked very ferociously on the restoration and the color and I want to see some of these films again. I'm a huge fan meanwhile. Yeah, I'm gonna take it.”