A romantic relationship comes to an end, and a long winter lies ahead. Following the November 2015 terrorist attacks, France is in shock, in state of emergency and high alert. This is the background for Frank Beauvais’s self- portrait during the months of voluntary confinement in a small town in the east of France, surrounded by nature (any correlation made by today viewers with current events and the worldwide lockdown will be purely coincidental). However, during this mourning for the end of a love affair, there is no place for the slightest bucolic portrait of country life. Just some bottled up anger, and helplessness, moments of solitude, depression and despondency, interrupted only by everyday gestures related to mere survival, and the viewing of four to five movies a day, for endless months, devoured compulsively in a sort of cinephile bulimia made possible by the age of internet. In total, more than 400 films are sent back to us in small pieces, in a huge and excessive puzzle of heterogeneous images, with no hierarchy – key movies in film history coexist with almost invisible rarities or z-movies – and no need for instant recognition, even for the most acute cinephile. Beauvais makes a point of never choosing a film’s relevant image or showing a well-known actor. These images are scored by the filmmaker’s voice off, in a relentless word-flow that complement them without ever becoming an illustration, serving instead as counterpoint and metaphor. The text is a private journal of great literary prowess and powerful symbolism, lucid, poetic, and moving. An absolutely unique gesture and a masterpiece of contemporary cinema, “Just Don’t Think I’ll Scream” is the fruit of a love crisis that is also an identity crisis in uncertain times, in which dark days and despair can also give place to hope, as in a gorgeous aerial shot in which Frank Beauvais’s gaze literally takes off and flies, as if believing that compulsive cinephilia does not have to be a dangerous addiction or a way of not living our lives, but actually of saving them.This is the first feature film by Frank Beauvais, a director Curtas has followed since the beginning of his career. All of his eight previous films, no exception, have been shown in competition at the festival between 2006 and 2015, winning the International Competition Grand Prix in 2007 with “Compilation 12 instants d’amour non partagés”. P.S.: An additional curiosity for Curtas’ viewers is the presence of Vila do Conde in one of the movie’s sequences, for those able to catch it. (MD)