�����ü����

Aimée’s career was, in a sense, attended by the ghost of the German director Max Ophuls, whose graceful camera was often trained on some of cinema’s most distinctive leading ladies.

And Demy’s “Lola” was inspired not just by the character made immortal by Marlene Dietrich in “The Blue Angel” but also by the courtesan chronicled in Ophuls’s last completed picture, “ Lola Montès.”

Touchstones ranged from Disney cartoons to Max Ophuls.

Instead, its fame spread in translation, including French film adaptations by Max �����ü���� and Roger Vadim.

In the sumptuousness of its mise-en-scène, the elusiveness of its desires and the poignancy of its requiem for a vanishing era, “Francisca” owes something to the historical epics of Luchino Visconti and, despite its much more stationary camera, the swirling romantic roundelays of Max �����ü����.