Iris in on the French Riviera: A woman (Jeanne Moreau) with platinum blonde hair walks along a promenade that overlooks the water, a purse in one hand and a cigarette in the other. Her pace as she approaches the camera, though fairly brisk, is no match for that of the camera itself. It pulls back ever farther, ceaselessly, racing away from her so that she becomes an increasingly minuscule figure in the distance. After a moment, a piano begins to play — dramatic, impassioned, suffused with romantic longing. It’s the sort of score one expects to hear in a Jacques Demy film (right down to the fact that it was composed by his frequent collaborator Michel Legrand), yet the Demy film that follows this opening — 1963’s Bay of Angels — isn’t quite what the music might suggest.