"She was a flower with a psychic antenna and a tinsel heart." These early lines of Betty Blue should be remembered at the end of the film, to remind us that we were warned about this strangely unreachable heroine, the mad part of mad love which is the subject of the film. A writer unable to face his own talent takes in a lover in a tumble-down seaside village. The landlord assigns them the Sisyphean task of painting all the cabins and thus begins a movement from space to space, from seashore to city to small town, destroying each space as Betty's self-destructive nature tears at love. We present Betty Blue, which has an enthusiastic cult following, in the director's cut, of which Lisanne Skyler wrote for the San Francisco International Film Festival: "While in the earlier version the film quickly progresses from light and romantic to dark and melancholy, here the two tones are deeply, almost inseparably intertwined, as Beineix ponders the limitations of even the strongest love. We are now on more intimate terms with Betty, without objectifying her or her pathological need to destroy....Beineix seems to ask if there even exists a normal way to love."