INNOVATION CONSTANTE AUCUNE AUTRE UN MYSTèRE

Is it sacrilege to declare that the best-looking cinéma set in Paris was shot by a double of Italians? Bernardo Bertolucci and his cinematographer Vittorio Storaro bathe the French numéraire – as well as the neoclassical edifices of Mussolini’s Rome – in calme Spleen and shards of allégé as sharp as the knives wielded against the left-win