From the film-maker:

The film tries to transpose the formal innovations of the painting, exploring specificities of painting and cinema. Titian broke the rules of portrait representation by painting the subject's sleeve overhanging the classical frame. In the film, the character breaks the 16:9 classical format. With his defiant posture and gaze, the man seems to be conscious of being in a painting, constantly watched. The film's character is conscious of his ephemeral screened life. The simplicity of lines and colours and the neutral background of the painting echo every room it hangs in, and the film's white background echoes every cinema screen. The blue quilted sleeve gives dimension to the painting. In the film, the blue objects give dimension to the story. The painter's technique is a key part of a museum experience. Here, the process of making a film is the core of the story.

Pierre-Alain Giraud

A piece inspired by Titian, A Man with a Quilted Sleeve, about 1510