Confidentially Yours

Based on the novel The Long Saturday Night by Charles Williams, Vivement dimanche (Confidentially Yours) is the story of an estates agent who is accused of murder during a hunt as his secretary tries to defend him despite her belief that he is guilty. Directed by Francois Truffaut and written by Truffaut, Jean Aurel, and Suzanne Schiffman, the film is a look into a man whose life starts to fall apart through all sorts of accusations as he is forced to team up with the one person who couldn’t stand him in what is Truffaut’s final film. Starring Jean-Louis Trintignant and Fanny Ardant. Vivement dimanche is a truly glorious and whimsical film from Francois Truffaut.

When a real estates agent learns he’s being accused of killing a man during a hunt as his wife is also killed, he turns to his secretary for help despite the fact that he fired her as she reluctantly helps though she thinks he is guilty. Along the way, several revelations come to ahead when the secretary Barbara (Fanny Ardant) believes that her boss Julien Vercel (Jean-Louis Trintignant) might be telling the truth as it relates to his marriage as well as aspects about his wife. Since Julien is already a fugitive as he is forced to hide out in his own office, it forces Barbara to do the investigation where Julien would eventually help out as they deal with false leads and other things.

The film’s screenplay does play like a whodunit in some respects when it’s really about two people who don’t like each other as they’re forced to work together. Though the outcome into the development of their relationship is obvious, it does manage to be quite fulfilling since Barbara knows that Julien might be telling the truth. Even as she goes on trips to Nice to find out about his wife where it becomes clear that there’s other people doing similar investigations where there’s several people involved that might have something to do with these murders that Julien is accused of. While Barbara may be the driving force of the story as she does a lot to uncover the truth, Julien is an equal part as he is a man that knows he is flawed and despises his wife but he isn’t a killer. Even as he is seen as a guilty man because of the fact that the man who was killed is revealed to having an affair with Julien’s wife.

Francois Truffaut’s direction is definitely stylish in terms of its look where it definitely harkens to an old school feel of 1960s European cinema yet it manages to feel quite vibrant. While many of the compositions in terms of close-ups and medium shots are simple, they have this sense of energy in the way Truffaut presents these shots. Especially in the scenes involving Barbara and Julien in how they interact and work together. Truffaut’s approach to tracking shots as well as in getting the camera to capture the two characters into a scene are quite compelling where it starts off with either Julien and Barbara being dominant towards one another. Once the film progresses as the mystery unfolds with some elements of humor, the two become equal as does their relationship. While there’s also moments where the fourth wall is broken, it plays into how unveiling of the mystery as Truffaut isn’t afraid to put style over substance into a suspense film with bits of humor and romance. Overall, Truffaut creates a very entertaining yet witty film about a secretary helping her boss prove his innocence.

Cinematographer Nestor Almendros does exquisite work with the film’s black-and-white photography with its usage of stylish lights for some of the film’s nighttime exteriors as well as some of the interior scenes at a nightclub where Barbara would go to in a key scene in its third act. Editor Martine Barraque does excellent work with the editing as it definitely plays into an array of styles from jump-cuts, transition wipes, dissolves, and other styles to create something that feels whimsical and fun. Production designer Hilton McConnico does brilliant work with the look of the office that Julien and Barbara works at as well as Julien‘s posh home and the nightclub where Barbara would enter to find some key clues.

Costume designer Michele Cerf does wonderful work with the costumes in the clothes that Barbara would wear from a stage costume to some of the clothes she would wear where she pretends to be a hooker. The sound work of Pierre Gamet and Jacques Maumont is superb for some of the sound effects that occurs for some of the film‘s suspense including a key scene where sounds from Stanley Kubrick‘s Paths of Glory is used as it‘s playing in a movie theater. The film’s music by Georges Delerue is amazing for its mixture of playful orchestral music with some eerie pieces to play into its suspense along with lush pieces for its romance and humor.

The film’s fantastic cast include some notable small roles from Jean-Pierre Kohut-Svelko as a Slavic wanting to become a French citizen, Pascale Pellegrin as a woman Barbara interviews to be her replacement, Castel Casti as a taxi driver from Nice, Georges Koulouris as a private detective Barbara meets who is also investigating a case on Julien’s wife, and Anik Belaubre as a mysterious cashier at a movie theater whom Barbara and Julien believe is connected with the victim. Jean-Louis Richard is terrific as a mysterious nightclub owner whom Barbara sees in Nice and later in the town she and Julien live in while Caroline Sihol is wonderful as Julien’s wife Marie-Christine as this woman who constantly cheats on her husband as she hides a mysterious past. Xavier Saint-Macary is excellent as the photographer Bertrand who constantly shoots photos of events as he’s also a stage actor that Barbara is working with.

Philippe Morier-Genoud is superb as a chief inspector who leads the case as he immediately suspects Julien over the murders. Jean-Pierre Kalfon is brilliant as this mysterious man that Barbara and Julien suspect as he is connected to one of the murdered victims. Philippe Laudenbach is amazing as Julien’s lawyer Clement who initially defends him but later tries to get him to do things that Barbara doesn’t agree with. Finally, there’s Jean-Louis Trintignant and Fanny Ardant in incredible performances in their respective roles as Julien and Barbara. Trintignant brings a sense of humility to his performance as a man frustrated with his life and marriage as he copes with what happened as there’s also bits of humor in his performance. Ardant brings a sense of charm and energy to her role as Barbara as this secretary who reluctantly helps her boss as well as display something quite playful. Trintignant and Ardant have this chemistry that is very electric in the way they despise each other but also manage to have some attraction towards one another as they’re major highlights of the film.

Vivement dimanche is a remarkable film from Francois Truffaut that features phenomenal performances from Jean-Louis Trintignant and Fanny Ardant. The film is a suspense-comedy that features a lot of tropes of Truffaut’s finest works as well as a sense of style that is just engaging to watch. Since this is the last film that Truffaut would make in his lifetime, he at least creates a film that manages to be an absolute winner. In the end, Vivement dimanche is a sensationally rich film from Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door

The Auteur #40: Francois Truffaut (Pt. 1) - (Pt. 2)

© thevoid99 2014

The Woman Next Door

Directed by Francois Truffaut and written by Truffaut, Jean Aurel, and Suzanne Schiffman, La Femme d’a cote (The Woman Next Door) is the story of a family man who learns that his former lover has moved in next door with a family of her own as the two try to deal with their feelings for each other. The film is an exploration of love that was lost as two lovers have an unexpected reunion but with attachments they couldn’t leave behind. Starring Gerard Depardieu and Fanny Ardant. La Femme d’a cote is a rapturous and intoxicating film from Francois Truffaut.

In this interpretation of the legendary love story Tristan and Iseult, the film is an exploration of two people who hadn’t seen each other for eight years as they rekindle a passionate love affair. Yet, they’re consumed with guilt over committing adultery and keeping it a secret from their spouses as old wounds begin to re-emerge. The film’s screenplay is told from the perspective of a tennis club owner Madame Jouve (Veronique Silver) who had also endure the same kind of heartbreak and temptation that Bernard (Gerard Depardieu) and Mathilde (Fanny Ardant) are dealing with as they would see each other for the first time in eight years. While both Bernard and Mathilde are married to other people with a son for Bernard, the two are drawn into capturing a love that had happened a long time ago. Unfortunately, their devotion to their spouses complicate things as the film’s second half showcases not just one wanting to continue the affair but also a sense of resistance that would force some truths to come out.

Francois Truffaut’s direction is very simple as he doesn’t really go for any sense of style as the film opens and ends with Madame Jouve telling the story about Bernard and Mathilde but that is it as she’s essentially a supporting character in this story. Shot on location in Grenoble, the film definitely has a small town look and feel where Truffaut does use a few wide shots but mostly go for medium shots and close-ups to play into this romance that is resurging. Even in the way he let the actors play into their emotion as there’s also these unique shots of longing where Bernard and Mathilde would often look out at the window to observe the other lives they have. These shots play into the looming sense of guilt that occurs as it would drive much of the film’s third act in its exploration of love and guilt. Overall, Truffaut crafts a very captivating and somber film about two lovers who reunite as neighbors.

Cinematographer William Lubtchansky does excellent work with the cinematography from the sunny and colorful look of the locations and tennis club in the day to some of the lighting schemes set at night. Editor Martine Barraque does nice work with the editing as it‘s very straightforward with a few jump-cuts and some dissolves to create a sense of style to express the sense of longing. Production designer Jean-Pierre Kohut-Svelko does superb work with the look of the different homes that Bernard and Mathilde live in.

Costume designer Michele Cerf does brilliant work with the costumes from the clothes that Mathilde wears to express her great taste in fashion along with some of the more casual look of the men. The sound work of Michel Laurent and Jacques Maumont is terrific for some of the sound effects that occurs in some of the film‘s location setting as well as some scenes that play into the film‘s drama. The film’s music by Georges Delerue is fantastic for its somber orchestral score to play into the drama and sense of longing that Bernard and Mathilde have for each other.

The film’s cast features some notable small roles from Olivier Bedquaert as Bernard’s young son Thomas, Philippe Morier-Genoud as a doctor late in the film, Roger Van Hool as a publishing friend of Mathilde’s husband who helps Mathilde with a book, and Veronique Silver in a wonderful performance as Madame Jouve who tells the story as she is someone who understands what Bernard and Mathilde are going through. Michele Baumgartner is terrific as Bernard’s very kind wife Arlette who is concerned over Bernard’s behavior while Henri Garcin is excellent as Mathilde’s husband Philippe who begins to suspect something as he tries to understand what is wife is going through and try to hide.

Finally, there’s the duo of Gerard Depardieu and Fanny Ardant in exquisitely phenomenal performances in their respective roles as Bernard and Mathilde. Depardieu brings this ferocity to someone who is eager to capture a part of his life that he had lost. Ardant has a much more restrained role as a woman anguished by her past as she isn’t sure if she wants to continue as both she and Depardieu manage to present aspects of charm but also a great weight of despair into their performances.

La Femme d’a cote is a rich and enchanting film from Francois Truffaut that features majestic performances from Gerard Depardieu and Fanny Ardant. It’s a film that explores old love returning and the emotional baggage it carries for two people who think they have moved on. In the end, La Femme d’a cote is a remarkable film from Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - Confidentially Yours

The Auteur #40: Francois Truffaut (Pt. 1) - (Pt. 2)

© thevoid99 2014

8 Women

Based on the play Huit Femmes by Robert Thomas, 8 Femmes is a who-dun-it set during the Christmas holidays at the French countryside as a matriarch, her mother, her sister, her two daughters, her two maids, and her sister-in-law are all suspected of killing the man of the house as they’re force to reveal secrets and in song. Directed by Francois Ozon and screenplay by Ozon and Marina de Van, the film is a mixture of the colorful melodramas of Douglas Sirk with the mysteries of Agatha Christie with a bit of the musical told in the film. Starring Catherine Deneuve, Isabelle Huppert, Danielle Darrieux, Fanny Ardant, Emmanuelle Beart, Virginie Ledoyen, Ludivine Sagnier, and Firmine Richard. 8 Femmes is an exhilarating yet entertaining genre-bending film from Francois Ozon.

The film is essentially a quirky take on the who-dun-it that mixes suspense, comedy, melodrama, and the musical all into a mish-mash of fun where eight women ranging from different ages and such all try to figure out who killed the man in the house as they’re all suspects. Throughout the film, family secrets are unveiled as tension come ahead between the eight women in the story as well as an act of defiance from the two maids who are upset over the way things are handled. Adding to the chaos is the unexpected visit of the man’s sister Pierrette (Fanny Ardant) as she helps stir the pot where she and the seven other women start to figure out who did what as they also sing a song in turn to express their own feelings and such.

The screenplay by Francois Ozon and Marina de Van definitely takes it time to play with the expectations of a who-dun-it as they also explore the dysfunctional relationship between this group of women as it involve the man’s wife Gaby (Catherine Deneuve), her uptight sister Augustine (Isabelle Huppert), her wheelchair-bound mother Mamy (Danielle Darrieux), and her two daughters in Suzon (Virginie Ledoyen) and Catherine (Ludivine Sagnier). Then there’s the two servants in the longtime cook Madame Chanel (Firmine Richard) and the new chambermaid Louise (Emmanuelle Beart) as they observe everything while they become suspects over their motives and some secrets that they carry. Eventually, more secrets are unveiled as well as clues into who killed the man known as Marcel. The screenplay also plays with the structure of the suspense where it does give one character a reprieve of sorts as she is no longer a suspect allowing the others to figure things out.

The screenplay also plays into many things such as equality, homosexuality, and repression as these eight women all want something just as they are all dealing with themselves and their relationship with Marcel. The songs that are chosen for the film for each character reveal a lot into who these women are as well as what they have to say. It also helps play into some of the emotional aspects of the story that adds a layer to the melodrama.

Ozon’s direction definitely recalls a lot of the visual motifs of Douglas Sirk in terms of staging and framing as well as the meticulous attention to detail in every set piece. From the way Ozon creates an atmosphere in his framing to how he is willing to let things loose in the humor and drama. Even in the musical moments where some of it is choreographed while some of it is presented in a simple manner. Ozon does use some unique framing devices to present these musical numbers in the way he place the actors in a frame or have them be in the background for someone’s musical number with the help of choreographer Sebastian Charles. There is something intoxicating to the way Ozon presents the film as it plays as a theater piece but also take his time to subvert these moments for everyone to play loose. Overall, Ozon creates a very delightful and compelling who-dun-it that is presented in song and in humor.

Cinematographer Jeanne Lapoirie does exquisite work with the film‘s colorful cinematography to create a sense of beauty as a lot of it is shot inside the house where Lapoirie uses some gorgeous lighting schemes for some of the musical numbers as well as the dramatic moments. Editor Laurence Bawedin does excellent work with the editing to capture some of the intensity of the drama and the rhythm of the musical numbers. Production designer Arnaud de Moleron and set decorator Marie-Claire Quin do amazing work with the set pieces with its attention to detail in the carpets and the presentation of the main room as it is definitely a highlight of the film.

Costume designer Pascaline Chavanne does brilliant work with the clothes as Chavanne designs a lot of specific clothing for each women to wear to display their personalities. Sound editor Benoit Hillebrant does nice work with the sound to capture some of the sound effects in the film to help maintain the air of suspense. The film’s music by Krishna Levy is wonderful for its lush orchestral score that recalls some of the sweeping musical styles of Bernard Herrmann. Music supervisors Amelie de Chassey and Delphine Mathieu do fantastic work with the selection of the songs as they go for pop for the songs sung by Catherine, Suzon, and Louise as well as more mid-tempo pieces for Gaby and Pierrette while Antoinette, Madame Chanel, and Mamy are given ballads.

The casting by Antoinette Boulat is marvelous for casting a great array of actresses to appear in the film as they span countless generations and periods. With Dominique Lamure only making a brief appearance as Marcel though he doesn’t show his face, the film definitely belongs to these women. Ludivine Sagnier is wonderful as the youngest in Catherine who is full of energy while Virginie Ledoyen is superb as the older sister Suzon who is carrying a secret of her own while dealing with all of the family chaos. Firmine Richard is great as the family cook Madame Chanel who is the most reserved character of the group as well as the one person who knows more than everyone else. Emmanuelle Beart is remarkable as the chambermaid Louise who is quite defiant in her role while having some secrets of her own as it concerns Marcel.

Danielle Darrieux is excellent as the family matriarch Mamy as a woman who claims she couldn’t walk as she’s often full of lies as well as being greedy. Fanny Ardant is amazing as Pierrette who makes a surprise visit to the house as she is definitely someone in a bit of control as she also has a real standout moment with her musical number. Isabelle Huppert is brilliant as Antoinette who represents a woman who is uptight and repressed as she is the most dramatic as well as being very funny. Catherine Deneuve is just divine as Gaby as a woman dealing with all of the chaos while facing herself and her own troubled relationship with her husband.

8 Femmes is an incredible film from Francois Ozon. Armed with a brilliant ensemble cast of some of France’s finest actresses as well as amazing technical work. It’s definitely a film that plays to the who-dun-it genre while doing it in song to create something that is full of joy and goes all out to entertain. In the end, 8 Femmes is a phenomenal film from Francois Ozon.

Francois Ozon Films: See the Sea - Sitcom - Criminal Lovers - Water Drops on Burning Rocks - Under the Sand - Swimming Pool - 5x2 - Time to Leave - Angel (2007 film) - Ricky - The Refuge - Potiche - In the House - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #33: Francois Ozon

© thevoid99 2013

Elizabeth (1998 film)

Originally Written and Posted at Epinions.com on 7/16/07 w/ Additional Edits & Revisions.

Directed by Shekhar Kapur and written by Michael Hirst, Elizabeth tells the story of Elizabeth's early life before she became Queen until she was accused of making murder attempts towards her half-sister Mary. When Elizabeth becomes Queen, she is surrounded by advisors, suitors, and everyone wanting her until she takes control. The film is an exploration as well as a dramatization of Queen Elizabeth's early life before she would assume the persona of being the Virgin Queen as she is played by Cate Blanchett. Also starring Geoffrey Rush, Joseph Fiennes, Christopher Eccleston, Richard Attenborough, Fanny Ardant, Emily Mortimer, Kelly MacDonald, Eric Cantona, Daniel Craig, Vincent Cassel, and in his final film role, Sir John Gielgud. Elizabeth is a powerful, mesmerizing bio-pic.

With England in a state of chaos over religious arguments between Catholics and Protestants, Queen Mary (Kathy Burke) falls ill while giving birth to a child that unfortunately dies as her husband also dies.  With Mary's half-sister Elizabeth set to replace her, Norfolk (Christopher Eccleston) is keen to arrest Elizabeth in his belief that she's part of the Protestant revolt whom she has no part of as she lives a quaint life with her love her Robert Dudley (Joseph Fiennes) and two ladies-in-waiting in Kat (Emily Mortimer) and Isabel (Kelly MacDonald).  After taken to prison with her ladies-in-waiting, Elizabeth is eventually freed when she is summoned to meet her dying sister where Elizabeth is to become the new Queen of England.  With Sir William Cecil (Richard Attenborough) aiding Elizabeth in the deal once Queen Mary dies in 1558, Elizabeth takes the throne as she gets the exiled Francis Walsingham as her advisor.

Still, the state of England is in chaos as they're facing the threat of the Scotland, that is run by Mary of Guise (Fanny Ardant) from France while many try to have the Queen get married to a king for political reasons as she continues to have her time with Dudley.  After a battle against the Scots that goes wrong, Elizabeth has to deal with other lords where she offers them a plan that guarantees her loyalty.  Still, Elizabeth faces assassination attempts as French ambassador Monsieur de Foix (Eric Cantona) suggests that Elizabeth should marry the comical Duke of Anjou (Vincent Cassel).  Instead, the meeting becomes a disaster though Cecil tries to ensure that the Queen must marry to ensure England's security.  After another failed assassination attempt, things get worse when the Pope (John Gielgud) gets involved as he hires the priest John Ballard (Daniel Craig) to assassinate the Queen.

With her relationship with Dudley strained following the assassination attempt as he turns to Spanish ambassador Alvaro de la Quadra (James Frain) for help.  The Queen turns to Walsingham for advice as he would make moves to help ensure England's safety after learning about another assassination attempt involving Ballard, Norfolk, Quadra, Earl of Sussex (Jamie Foreman), and Dudley.  After Walsingham informs Elizabeth, she would make plans that would set the wave for her powerful reign.

While the film is mostly accurate on some parts including the assassination attempts by Norfolk and Mary of Guise. Like many bio-pics before and since, they tend to have serious flaws in terms of dramatic interpretations. Some characters are created fictionally in order to serve as a drama. Yet, screenwriter Michael Hirst does make a fine effort in being true to history as well as basing things on legends. Though some parts tend to be overdramatized including the relationship between Elizabeth and Dudley. Still, the film's direction by Shekhar Kapur is wonderfully observant to show what was going on in England as well as the stories behind the throne.

Notably the scenes of Elizabeth in the aftermath of everything as she becomes the Virgin Queen. The film has a great ending where it was intended to just end with her taking on in this role. Even in a scenario that was similar to the ending of The Godfather. In many ways, this film is more about Elizabeth in an early stage of her life as she becomes Queen. The stuff about her reign however, is another story.

Cinematographer Remi Adefarasin who creates some wonderful lighting schemes from some of the dark, lighting set-ups in the film's earlier sequences to more colorful, spacious sequences in the film's party sequences. Editor Jill Bilcock does some excellent work in the film's editing, notably a scene of Elizabeth rehearsing on what she has to say with the use of jump-cuts to create a bit of humor. Production designer John Myhre and art director Lucy Richardson create wonderfully elaborate set designs for the film's party settings as well as the wonderful use of locations for the castles inside. Costume designer Alexandra Byrne does amazing work with the dresses and suits that looks wonderfully lavish to the period the film is set in. Sound editor Mark Auguste creates tense moments of the film's sound to convey the terror that is coming.

Music composer David Hirschfelder creates an exotic film score ranging from dramatic, orchestral pieces to convey the film's suspense. The film also includes period music ranging from folk music ranging from the use of mandolins, flutes, and such to revel in the period. It's an excellent score that plays to the film's drama.

The cast is wonderfully remarkable with some small parts in roles like Amanda Ryan as Norfolk's lover, Terence Rigby as the treacherous Bishop Gardiner, Edward Hardwicke as the sympathetic Earl of Arundel in an early scene of her arrest, Jamie Foreman as the Earl of Sussex, future British pop singer Lily Allen as a young lady-in-waiting, and two small yet memorable performances from current British favorites Emily Mortimer and Kelly MacDonald as two of Elizabeth's loyal ladies-in-waiting. Daniel Craig is great in an early role as a brutal assassin. James Frain is also good as the corruptive ambassador Quadra who tries to win over the mind of Dudley. Eric Cantona is good as the French ambassador Monsieur de Foix while Kathy Burke is excellent as the hateful Queen Mary I.

In his final film role, Sir John Gielgud is brilliant as a hateful Pope who sees the Queen as a threat. Vincent Cassel is very funny and over-the-top as the Duke of Anjou with his knack to be comical and wear dresses. Fanny Ardant is great as Mary of Guise who tries to take control of Elizabeth while having some charm and wit in her role as she meets Walsingham. Christopher Eccleston is great as the conniving, secretive Norfolk who tries to get rid of the Queen in an attempt to become ruler. Joseph Fiennes is excellent as Robert Dudley, the Queen's lover who tries to deal with the new changes of her life that would ultimately led to his own downfall.

Richard Attenborough is great as Sir Cecil, an old advisor who tries to do what is best for the Queen as only sees his failure despite the Queen's gratitude. The film's best supporting performance easily goes to Geoffrey Rush as the mysterious Walsingham who becomes the Queen's right-hand man as he plans assassinations and such. Rush is just great in playing a dark character who can display charm while being cold at the same time.

Finally, there's Cate Blanchett in what has to be one of her greatest performances. Blanchett brings a wonderfully complex performance as a young, carefree, innocent woman who is aware of her possible role. Displaying the kind of insecurities and flaws that is to come from any woman who is about to rule, Blanchett brings those flaws with a grace that isn't seen much in acting. When she becomes Queen, we see a sense of anger and later, coldness as she develops into a strong woman who is trying to help a country in chaos become strong again. It is indeed a majestic performance from the actress.

Elizabeth is an extraordinary period film from Shekhar Kapur that features a towering performance from Cate Blanchett. Along with great production value and a superb ensemble cast that includes Joseph Fiennes, John Gielgud, Fanny Ardant, Christopher Eccleston, and Geoffrey Rush. It's a film that plays up the grandeur of who Queen Elizabeth was in her early years as well as the people who try to bring her down. In the end, Elizabeth is a marvelous film from Shekhar Kapur.

(C) thevoid99 2012