All in Love

All in Love is a true story . 20 years ago, Maud and Bertrand met and fell in love. They then experienced a passionate road trip to the USA, Japan and India. They filmed each other on camcorders and wrote from the first to the last day of their story. This travel diary in two voices immerses us in the twists and turns of love, from passion to breakup. This journey together is also an inner journey. To go around the world is to go around oneself. SYNOPSIS All in Love is our love story with Bertrand, which begins in June 2003. On the eve of his 30th birthday, he decides to go on a world tour, with no return ticket. We meet a month before his departure. I am Maud, a director in Paris, and despite the magic of our meeting, I think that his departure will be the end of our story. Bertrand convinces me otherwise: I join him in New-York. I propose that we film each other throughout our trip and that we each keep a journal, writing down our impressions of the day. We will only have them read to each other at the end of the journey. This project becomes our way of capturing our relationship, seen through our two sometimes so different perspectives. In August 2006, we embarked on a 6,000-mile road trip from New York to San Francisco in a 1967 Ford Galaxie 500 convertible that we nicknamed"Mademoiselle". It was Amour Fou. We were carefree, flamboyant, free... a little stupid but so happy. We write our story by swallowing miles of landscapes and cocktails in motels with shabby rooms and peanut-shaped swimming pools, like in "Sailor and Lula " We laugh about all our mishaps: tires flattened by the heat, a part of the door forgotten at the Mexican border, my disastrous sense of direction, his mood swings when he has hypoglycemia, the broken rear axle of the car that immobilizes us for several days in Texas and breakdowns in the middle of the desert... But love is our common essence. So much love... It almost scares me. Sometimes I wonder if our relationship is real. And yet Ibet everything: it's a "All in Love ". At the end of the road trip, we resume our lives: he leaves for South America and I return to Paris. When I return, a surprise awaits me. Bertrand left me a letter in New York with a marriage proposal. I say " YES ", and our story continues from a distance, with passionate email exchanges. Then, I leave to realize a dream: to live in Tokyo, where I grew up. On my 30th birthday, Bertrand turns around the planet to be with me. The happiness of our reunion is there, but I feel a change. It's tiny but it hits me. A few months later I discover that he is writing to another woman he met in Guatemala. I want to leave him. He asks me for one last chance and we leave for Kyoto. In the uncertainty I leave again for Paris and he decides to completely change his trip. We part on a train platform: I am uncertain about our future, Bertrand is as optimistic as ever. He resumes his world tour and decides to change his itinerary. He will not return to South America as planned. He leaves his Hawaiian shirts to find himself. A world tour is also a tour of oneself... He boards the Trans-Siberian and tells me that he wants to be proud of the man he is going to become: capable of looking himself straight in the eye in the mirror, straight in his boots. His inner change of direction and our long exchanges of emails put our love story back on track. As in an initiatory journey, we meet again a few months later in India.The journey is more internal. Without a planned itinerary, we leave for Kashmir and slowly descend towards the south for more than three months. India invites us to slow down... We traded the flamboyance of the USA for backpacks, day and night buses and 1 euroguest rooms. Still free but searching. For ourselves. Individually. Without artifice. We removed the superficial layers to find our essence. We have definitively left our twenties and are trying to enter our thirties with more truth and accuracy. A sadhu explains to us that we are not rich enough to save all of India, that our sadness is of no use to them, but that we can give our time every day and start by smiling. So we offer our time. We meet extraordinary people, monks, sadhus, travelers, who lead us to a deep introspection, encouraging us to reflect on our values, our identity and the direction we want to give to our lives. Back in France, we spend six months in the south, thinking that it will be our last stop before leaving to live in Australia, Bertrand'sdream. But it will be the end of our story. In January 2006, we parted ways. For good. The love story is over, but the movie can finally begin! Some people think they are on a journey, but in fact it is the journey that makes or breaks us. Nicolas Bouvier AUTHOR'S NOTE OF INTENT I was always convinced that one day this story would be a film. I didn't know it would take me 20 years and ultimately this hindsight is the strength of the film. Unconsciously, Bertrand and I kept the texts and images, to be sure, whatever happens, that this story, its space-time, its feelings are anchored in eternity. A few months ago, I contacted Bertrand to inform him of my desire to finish our project. He saw the provisional teaser of the film, liked it a lot and gave me his approval. It is very important that the telling of this story does not place the blame on either of us. A romantic encounter has this unique capacity to arouse both wonder and deep uncertainty. It fascinates with its intensity and novelty, but it also arouses fears, doubts and vulnerability. As in any romantic relationship, each person bears their share of responsibility, their mistakes and their justifications, because love is a complex terrain where wrongs and rights intertwine. During our story, cell phones didn't work abroad, at least not ours, and social media hadn't yet invaded our daily lives. We could take the time to write our book every day and be fully in the present moment. Far from each other, writing was our main communication. Each word, each sentence is chosen with care, creating an introspective and sincere dialogue. The exchanges of letters and email become moments of waiting, desire and anticipation where each message is eagerly awaited, adding a romantic dimension unfortunately sometimes lost in the digital age. We also filmed ourselves alone, each on our own. During the duration of our love story, the viewer sees our couple evolve and change. In Kyoto, you can feel the crack that has set in. My gaze is sometimes empty: I am there, without being there. The pain has sometimes made me absent myself from myself. And then I tried to heal my wound. From there, we began another love story, still as intense but different. The flamboyant lovers of the beginning have nothing to do with those who cross India in backpacker mode. Beyond the difference in countries and travel conditions, the. change is deeper, more of an identity. Our view of ourselves and the world has changed. When you live a story, it's not a story at all. Just confusion. A blindness. It's later that it becomes a story. When you tell it to yourself and to someone else. Excerpt from the film"Stories we tell" by Sarah Polley Making All in Love today means stepping out of my comfort zone. Until now, I have always been keen to highlight the stories of others, often through portraits of artists, subjects that touch me and inspire me deeply. These are the stories that nourish my work and that have always seemed essential to tell. This time, the adventure is different. I find myself facing a project that, for the first time, pushes me to explore much more personal themes, such as love, the quest for oneself, the doubts and hopes that inhabit us all. This film represents a real challenge and at the same time a unique opportunity to reconnect with a part of myself that I have not yet had the opportunity to highlight through my work as a director. It is an inner journey as much as an artistic project. The idea of ​​exploring these emotions, of translating them on screen pleases me and inspires me. Although this film is rooted in intimate reflections, my ambition is that it finds a universal resonance. Love, the quest for oneself, these are themes that speak to everyone, no matter where we come from. My wish is that everyone can find themselves in this story, see a part of their own journey, their own emotions. As a filmmaker, this film is a way to weave a link between the intimate and the collective, between my own feelings and the shared human experience. It is this mixture of the personal and the universal that motivates me and makes this project so exciting. And even though this path is new for me, I am very eager to share this adventure with each person who will join this project. THE FILMING The filming took place over three years 20 years ago with two camcorders in the USA, Japanand India and a few short sequences in France. From his solo world tour, Bertrand filmednSouth America, Korea, Russia and Tibet. I filmed myself alone in Japan and France. The rushes:  25 mini DV K7s, or 25 hours of rushes. Images filmed by Bertrand and me.  10 mini DV K7s, or 15 hours of rushes. Images filmed by Bertrand and me, each on our own. The camcorder footage brings an intimate and authentic atmosphere to the film. It allowed us to capture our story at the moment: the raw emotions of passionate love and the moments of vulnerability that we share and sometimes go through alone. We also filmed a lot of moments of daily life of the populations and the landscapes of the countries where we were. THE VOICEOVER Excerpts from the book written by Bertrand and me, the hundreds of letters ans emails exchanged will serve as voiceovers for the film. We will record the voices of Bertrand and me in the studio. THE ASSEMBLY All in Love is a one-of-a-kind documentary. My goal is to create an immersive and captivating cinematic experience for the audience. The viewer finds themselves in the intimacy of a real love story. The pace of the editing plays a key role in the modernity of All in Love . We will use changes of pace with quick cuts, dynamic transitions to keep the spontaneity of the story. We will explore innovative editing techniques. This can include subtle visual effects, superimpositions, split screens or experimental editing. These techniques can add a contemporary aesthetic to the film and distinguish it from more traditional editing styles. This helps give a fresh and contemporary feel to the film that fits well with the sunny characters of the couple. The editing follows the chronology of the love story to show the evolution of the couple over the months and years. The narrative structure keeps the viewer in suspense. Until the end of the film, he must wonder if they will stay together. CALIBRATION AND SOUND DESIGN We will work on color grading to harmonize the different images. This will create an aesthetic and visual consistency. We will use filters, textures, adding slight variations in grain,vignetting or other subtle effects. Sound design also plays a very important role. It will enhance the emotion and impact of theimages. By using precise sound editing and well-placed sound effects, sound design will amplify the key emotional moments of the film. By using recurring musical themes, specific sound patterns and unique mixing techniques, sound design can give a film a sonic signature. These techniques will add a contemporary aesthetic to the film, distinguishing it from more classic documentaries and making it unique in its genre.

MAUD BAIGNERES Director and screenwriter of the film ALL IN LOVE I have been a director for over 25 years. I grew up between Tokyo, Paris and New York. My travels and encounters have always inspired me for my films. I deeply love to highlight nature, humanity and art. Here is my website where you can see my work: www.maud-baigneres.com I have had the chance to make films in very different formats, such as award-winning shortfilms broadcast on Canal +, clips, advertisements, documentaries, institutional films and cultural reports for Arte (10 years of reports for Tracks, many of which were in Japan), Canal+, and France 2. As a screenwriter, I had the original idea and wrote the film "La Cloche a sonné" (produced by TF1 and Lazennec), a feature film with Francois Cluzet and Fabrice Lucchini, released in theaters in France in 2007 and broadcast on Canal +. More recently, I co-directed with Arnaud Riou the documentary film ETUGEN, screened in cinemas in France and abroad. From the plains of Mongolia to the forests of the Amazon, ETUGEN questions the meaning of our existence, our relationship with Nature… The film invites us to discover a universal wisdom through the meeting of shamans, philosophers,doctors, scientists… Here is the trailer: I produced the 6-episode SEA ART series in collaboration with Time for the Ocean, the association for the protection of the Oceans of Marion Semblat with Balthazar Morvan, Director of Photography, Chloé Nicolas, Chief Editor and Mathieu Blanc-Francard aka Sinclair, composer of the film music. SEA ART excerpt on Miquel Barcelo : MATHIEU BLANC - FRANCARD ALIAS SINCLAIR COMPOSER OF THE ALL IN LOVE I think that the music of ALL IN LOVE must be modern and heady, carnal and stripped down... for me it is the horizon line in the middle of this surprising love journey. I believe that you have to be able to hold on to it and trust it. A music that turns and that sometimes resonates in the immensity of the decor. Mathieu Blanc-Francard, aka Sinclair, has been passionate about guitar and keyboards since he was 15. His first album, "Que justice soit fait" (1992), revealed him as a talented multi-instrumentalist influenced by Stevie Wonder and Prince. He became a figure of French funk, notably thanks to his inventive lyrics and his "Sinclair System". In 1995, he won the Revelation Award at the Victoires de la Musique. In addition to six studio albums, Sinclair distinguished himself on stage and released two live albums. In 2002, he wrote his first film score for Guillaume Canet, and subsequently collaborated with several directors. He continues to compose for film and television and manages his label Rockette Records.