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I was looking for some music on iTunes when, by some coincidence, I ran into the “Carnival of the Animals” suite by French romantic composer Camille de Saint Saëns. In fact, I was looking for some house music for my morning jog at the gymn.

The arrangement I found was by Barry Wordsworth and the London Symphonic Orchestra. The melodies had a pleasant, cinematic quality to them. The titles--“Kangaroos,” “People with long ears”—sounded as if they’d been lifted from Michel Gondry’s scrap book.

And then, the unpredictable occurred: “Aquarium,” the better-known piece from "Carnival of the Animals" came on the loudspeakers. I couldn’t believe it; this was the same music that’s been used by the Cannes Film Festival for the opening title sequence which plays before every screening (see video player below).

The same fairytale-like splendor, the whirlwind-like glissandos, it was all there—I was spellbound by it. Here I was, right back in my seat at the Lumière Theatre, waiting for the first screening to start.

The same day I contacted Gilles Jacob to ask him about this all came to be.

A New York investment banker for thirteen years, Ami Horowitz has turned documentary filmmaker and made what looks like a scintillating—but unforgiving--study of the United Nations’ position in world affairs. There is art after investment banking. What’s especially thrilling about Horowitz is that he seems to pour all his investment banker energies into his documentary, standing squarely in front of the camera and addressing us with poise and combative energy.