This book brings together two visions, two looks, two sensibilities on this notion, almost a genre, of “Glamor”.
Book with four hands with Dominique Païni for the text and Bernard Plossu for the images. What links this assemblage, this duality is the cinema, because the word Glamor finds all its resonance there. The opening text, once luxuriously edited and graciously offered to the guests of the Cannes Film Festival in 2012 on the occasion of the 65th anniversary, was accompanied by photographs of movie stars.
The second text as stated by D. Païni The friendly and aesthetic closeness that I have maintained for many years with Bernard Plossu immediately gave me the idea to make him illustrate this “remake” was written for this book four years more Later.

Hors Collection
165 x 230
Relié couverture cartonnée
35 photos duotone
80 pages
ISBN : 978-2-35046-408-4
Press review
Special edition* prints accompanied by a photographic print signed by Bernard Plossu.

* Possible choice between two photographs, each drawn at 25 copies: silver prints on baryta paper 18 x 24 cm.
  • Glamour
    Photo #1
  • Glamour
    Photo #2

Bernard Plossu


Plossu Bernard, born in South Vietnam in 1945, he grew up surrounded by photographs of the desert taken by his father when he went skiing on the dunes of the Sahara in 1937 with Roger Frisian-Roche. Modesty, sensuality, emotion, joy, here is what is the “sap” that already permeate the images of the self that landed in Mexico in 1965 and 1967 to join his grandparents. Travel as a Mexican issue 15 years later its editor Claude Nori. A book that, as the creator of Ed. Contrejour has become a sort of bible for a generation suddenly uninhibited by his freedom of tone and its intimate and poetic vision.

Dominique Païni

Auteur, Commissaire

Director of the Cinémathèque française from 1991 to 2000, and since then responsible for the multidisciplinary projects of the Center Georges Pompidou. Defends the cinema of authors like: Jean-Marie Straub, Michael Snow as well as Rossellini or Godard, it reaffirms that the invention of the cinema is a matter of author and artist. He affirms, more firmly than in his previous book, Le cinéma, a modern art, an approach to cinema based on figurative motives (idle, sculpted, frozen …), draws a first assessment of the experience of his Exhibition Hitchcock and art, and comments on contemporary attempts to move the cinema from its traditional site, from the room to the museum’s rails.