A town on the Atlantic coast one night. A big truck transporting a machine goes to the dog food factory and makes a discreet delivery. Next day, the management announces a down-sizing program for the factory. Emile Dupas, one of the workers whose job has been axed, tries to commit suicide by throwing himself into the sea (he can’t swim). His son and a 12-year-old child, Mathieu, save him at his last gasp. His act of despair is the spark that galva- nizes the whole area and sends the town where the Dupas family lives into turmoil.
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“Release.” That’s the keyword. In 1959 my first film, “The Chasers”, was released on one screen and was a big hit. In 1960, my second film, “Un couple”, was also released on one screen. It did pretty well, too. In 1969, my tenth film, “Solo”, after eight months in limbo, ended up in four rather downscale theatres but still did good business. And so on and so on. The years go by. Apart from “Agent Trouble”, “Le Miraculé” and “Les saisons du plaisir”, all my other films (i.e. 90%) were given a limited release with hardly any advertising. Today, “Robin des mers” is making history. Granted, I will be releasing it on a single screen, Le Brady, but the theatre belongs to me. For the first time in my life as a film-maker, I am able to choose the release date and keep my film running for as long as I like. No one can throw me out. I will soon have a second theatre. Nirvana! Put yourself in my shoes, a film-maker who can finally show his movie without having to beg and without getting kicked in the ass. What if nobody comes to see the film? We’ll show it to a handful of loyal fans and we won’t make a centime. But why do we make films, anyway? For the sake of cinema or to make big bucks?" (Jean-Pierre Mocky)