The story focuses on 2 objects, an unusual set of 18th-century Limoges china, and also a 19th century stylish picture. As these products are passed, marketed, or stolen from one personality to another, a woozy round dance of excess starts to take shape, one which recommends that if history doesn't repeat itself, it certainly rhymes. Together with co-writer Gérard Brach, whose various other co-writing credit histories include Repulsion and Tess, Otar Iosseliani uses a feather-light touch to subject the futility of course and caste, making a bagatelle of the worries of rich and poor alike.
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The story focuses on 2 objects, an unusual set of 18th-century Limoges china, and also a 19th century stylish picture. As these products are passed, marketed, or stolen from one personality to another, a woozy round dance of excess starts to take shape, one which recommends that if history doesn't repeat itself, it certainly rhymes. Together with co-writer Gérard Brach, whose various other co-writing credit histories include Repulsion and Tess, Otar Iosseliani uses a feather-light touch to subject the futility of course and caste, making a bagatelle of the worries of rich and poor alike.
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