Here we are, mid-spring. The best season ever, the season of renewal and new opportunities, is going up in smoke, and nobody is doing anything about it. Not even Emmanuel Macron or his former chief warrant officer Cédric Villani. Our famous Fields Medal winner from 2010, who I think could, and an atomic dial would certainly enable us to pause time, so that we can breathe and take in the moment. To bubble like a phlyctene champenoise. So as not to let time slip away like chicha vapour.

These first days of May remind me of a film shown at the Cannes Film Festival exactly one year ago. May December. It may be a little late to talk about it, I realize, but I felt I had to wait to give you the feedback no one asked for. And yet here it is. I really liked the picture and the music. Julianne Moore's performance is as delicious as chestnut cream. And that's it. That's all there is to it. Here's a movie review you could hear at the Cercle de Canal+ or the local sports club and it would satisfy most people.

 Well, not me. I can tell you, for example, that this feature film was shot in 16mm because director Todd Haynes wanted to get back to the grain of a film he idolizes : A l'ombre de la canaille bleue. For the sound, he borrowed the post-synchro technique dear to Fellini, because as Michel Chion said : "A slightly uncertain or shifted musical synchronism is the source of a particular poetry. (...) (it) introduces a very poetic floating. For the soundtrack, again, he went back to an old theme by Michel Legrand, created in 1971 for a Joseph Losey film called Le Messager. The whole mood of the film was intended to create a particular atmosphere, creating a sense of unease while at the same time giving it a Pavlovian texture. Like a sort of psychedelic meringue that disgusts as much as it attracts.

Todd Haynes was asked to direct by his long-time collaborator Julianne Moore, whom he had directed in Safe in 1995. He is not, therefore, the instigator of this project, inspired by a true story set in the 90s when a teacher fell in love with her student, who was barely a teenager but with whom she started a family after a stint in prison. The film adds a character, an actress, who comes to the film to play the role of the teacher in a film currently in preparation. This actress adds a point of view and a sense of discomfort. An awkwardness because she's unhealthy in her approach, but also because Natalie Portman is a bit of a freewheeler, overplaying a role that makes her overflow like a surplus of overly corseted flesh. Todd Haynes is probably one of the best US indie filmmakers, because he tries, he tries, he screws up, and it's to his credit that he makes us wade through his gaffes with him. Despite this, he always remains elegant and worthy of such admiration that one season soon, I'll dedicate a model to him. I'm sure that when he finds out, it will please him as much as being an honorary citizen of the town of Poissy.

A girlfriend once told me that the Wolfgang Amadeus album was a clothes store record. I guess she was trying to needle me. But that didn't stop me from sharing this sublime track with you, which, let's face it, sounds more like a clothes-shop record than anything else :