This year's City of Lights/City of Angels Festival provided its share of typically intimate French dramas. The festival opened strongly with Bertrand Tavernier's Laissez-Passer (Safe Conduct) and closed with a contrasted bill featuring Pitof's special-effects driven Vidocq (the first film entirely shot in digital) and Coline Serreau's social piece Chaos.

From established directors such as Bertrand Tavernier and Colinne Sereau's to first-timer Pitof, the cineastes brought their enthusiasm and spontaneity to Hollywood; a great relief given the sometimes pretentious behavior of some of their compatriots when it comes to Hollywood (ie Leo Carax).

While the schedule had been well planned, an unexpected craving for the event-a great sign of LA's microcosm opening to new horizons-provided some organizational headaches in a pure French way. Closing night ended with a nice French buffet compliments of LA's Angélique Café; their mousse au chocolat was a treat. The crowd, a mix of Hollywood connoisseurs, players and native Frenchies, was pleasant and far from the usual showoffs.

Vidocq Pitof, a former special effects supervisor on several French blockbusters, directs Vidocq, the first film entirely shot in digital. The much-anticipated work is disappointing.

Safe Conduct (Laissez-Passer) Bertrand Tavernier loves cinema. And he also loves France and her proud cultural heritage, of which he has become a spokesperson. Finally, he loves history, which often nourishes his films. These three loves form the unifying topic of his latest film, which is also explicitly expressed in the dedication to "All those who lived this history" and in "Safe Conduct", which echoes the worst.

Chaos In French director Coline Serreau's social drama Chaos, Hélène, a "petite bourgeoise", gets her life turned upside down when she witnesses the beating of Noémie, a prostitute. From that moment Hélène's life won't be the same, as the film becomes a plea for women's freedom denouncing physical and psychological abuse from men.

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