1.0IFFR ENhttps://iffr.com/enrich600338<blockquote class="wp-embedded-content" data-secret="KgLgyShfIA"><a href="https://iffr.com/en/iffr/2002/films/tosca-2">Tosca</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://iffr.com/en/iffr/2002/films/tosca-2/embed#?secret=KgLgyShfIA" width="600" height="338" title="“Tosca” — IFFR EN" data-secret="KgLgyShfIA" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://iffr.com/en/wp-includes/js/wp-embed.min.js </script> When the late Daniel Toscan du Plantier suggested to Jacquot that he film an opera of his choosing, he selected Puccini’s perennial favourite because it was the only opera whose tunes he knew well. He wanted to film the singing live, as Straub and Huillet did with Von Heute auf Morgen, but when that proved […]