The Giscard movie, “A Day in the Country” (“1974, une partie de campagne,” a pun: also “A Day in the Campaign”), set a definitive tone for Depardon’s career, as the first of many films in which he gets behind the scenes and shows what’s usually out of public view. Those films are inextricable from the question of access and its implications, both practical and legal—and the resulting tensions energize Depardon’s filmmaking aesthetic. In his most imaginatively conceived films he confronts fearsome systems of power—law and violence—and his terms of access to those systems forge the projects’ artistic form.