Movies - Rien sur Robert: diving into the heart of an intellectual comedy that remains as modern as ever

By Mulder, Paris, Cinémathèque française, 21 february 2026

This afternoon, the Cinémathèque Française hosted a screening of the film Rien sur Robert, followed by a particularly insightful masterclass with its screenwriter and director Pascal Bonitzer, moderated by Frédéric Bonnaud, the institution's director general. In an attentive audience, the rediscovery of the film, released in France on February 24, 1999, immediately reminded us how unique this intellectually driven comedy of manners remains in the French cinema landscape. During the discussion, Pascal Bonitzer gave a detailed account of the genesis of the project, his thematic obsessions, and how this feature film fits into an auteur's trajectory nourished by criticism, philosophy, and screenwriting. The atmosphere oscillated between rigorous analysis and delightful anecdotes, mirroring a film that constantly plays with the boundaries between sincerity, deception, and the vertigo of love.

Directed and written by Pascal Bonitzer, Rien sur Robert features Didier, a film critic whose life is turned upside down after an argument with Juliette and the writing of an article about a film he hasn't seen, triggering a series of emotional and identity shifts. Led by Fabrice Luchini, alongside Sandrine Kiberlain, Valentina Cervi, Laurent Lucas, and a remarkable cast including Nathalie Boutefeu, Édouard Baer, Denis Podalydès, Michel Piccoli, Bernadette Lafont, and Marilú Marini, the film takes a biting ironic look at intellectual and media circles. Produced by Philippe Liégeois and Jean-Michel Rey, photographed by Christophe Pollock, edited by Suzanne Koch and accompanied by music by Bruno Fontaine, the feature film (107 minutes) was developed by Rézo Films, Assise Productions, France 2 Cinéma, Canal+ and Iris Group, before being distributed in France by Rezo Films. During the meeting, several audience members emphasized how Fabrice Luchini's performance remains one of the beating hearts of the film, perfectly capturing the fragility of a man trapped by his own words.

One of the most discussed aspects during the masterclass was, of course, the narrative device of writing a review of a film that had not been seen, a deliberate nod to a very real controversy that stirred up intellectual debate in France in the mid-1990s around Emir Kusturica's Underground. Pascal Bonitzer subtly evoked this interplay between fiction and reality, reminding us that cinema, beyond being an artistic medium, also remains a space for ideological projections, misunderstandings, and sometimes imposture. This starting point, which might seem purely satirical, becomes an existential question for him: what is the value of critical discourse when it is detached from direct experience? And how can this flaw contaminate the intimate sphere? The author emphasized what he considers to be a constant in his work: observing the dissonances between thought and behavior, between social image and inner truth.

Another memorable moment was the discussion around the discreet but fascinating motif of Robert, based on an interpretation by law professor Serge Sur, to which Pascal Bonitzer responded at the time by confirming its symbolic relevance. This reading associates Robert Desnos with a quasi-theological dimension, via a scholarly linguistic game, revealing the filmmaker's attention to the hidden layers of language. Frédéric Bonnaud skillfully linked this detail to Pascal Bonitzer's philosophical training, with a master's degree in philosophy from the University of Nanterre, and his atypical career path, from Les Cahiers du cinéma, which he joined in 1969 after meeting Michel Delahaye, to a prolific career as a screenwriter, collaborating notably with Jacques Rivette, André Téchiné, and Raoul Ruiz. This journey through critical and creative territories sheds light on the very texture of Rien sur Robert, a work in which words, doubt, and irony become dramatic forces in their own right.

Placing the film in the context of his filmography, Pascal Bonitzer highlighted the continuity that links Encore (1996), Rien sur Robert (1999), and Petites Coupures (2003), variations on the same type of male character: intellectual, hesitant, and sometimes out of step with reality. He also spoke with amused lucidity about the fluctuating critical perception of his works over time, noting that certain films find new resonance in the contemporary era, marked by media mistrust and the constant staging of the self. The discussion naturally shifted to his more recent works, including Le Tableau volé (2024), and his projects for 2026, confirming his undiminished creative vitality. This dialogue between past and present gave the session an almost reflective tone: watching Rien sur Robert today, one realizes how surprisingly relevant its themes of credibility, desire, doubles, and moral vertigo remain.

At the end of this lesson in cinema, one impression prevailed: that of having revisited not only a film, but a way of thinking about French cinema, where narrative intelligence, humor, and existential anxiety intertwine without ever canceling each other out. In a cultural context dominated by snap judgments and polarization, Pascal Bonitzer's screening and commentary reminded us of the need for doubt, critical thinking, and the pleasure of storytelling. It was a valuable encounter, both cinephile and deeply human, confirming that certain films are worth revisiting not out of nostalgia, but for what they still reveal about ourselves.

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Synopsis:
Following a review he shouldn't have written about a Bosnian film he hadn't seen and an argument with his girlfriend Juliette, Didier's life changes and his bearings collapse. Juliette leaves him for another man. He meets a strange young girl, Aurelie, and a certain Jerome, who may be his double. At the end of the road, he will have to discover that one cannot write or love with impunity.

Rien sur Robert
Written and directed by Pascal Bonitzer
Produced by Philippe Liégeois, Jean-Michel Rey
Starring Fabrice Luchini, Sandrine Kiberlain, Valentina Cervi, Laurent Lucas, Nathalie Boutefeu, Édouard Baer, Denis Podalydès, Michel Piccoli, Violetta Sanchez, Wilfred Benaïche, Marilú Marini, Bernadette Lafont, Micheline Boudet, Alexis Nitzer, Dimitri Rataud, Patricia Dinev
Director of photography: Christophe Pollock
Editing: Suzanne Koch
Music: Bruno Fontaine
Production companies: Rézo Films, Assise Productions, France 2 Cinéma, Canal+, Iris Group
Distribution: Rezo films (France)
Release date: February 24, 1999 (France)
Running time: 107 minutes

Photos and video 4K : Boris Colletier / Mulderville