Beautiful, tranquil, but increasingly menacing clues to a love affair with a girl he may or may not have killed. During the French Revolution, a Scottish aristocrat and her former lover, the Duke of Orleans, find themselves on opposite sides of the conflict. | It included a bicameral legislature known as the Corps Législatif. It concerns three French officers held as prisoners during the First World War by the Germans: aristocratic De Boeldieu (Pierre Fresnay), working-class Maréchal (Jean Gabin) and wealthy Jew Rosenthal (Marcel Dalio). Hafsia Herzi, Yes, Hulot as champion of the individual is oddly de-personalised. He was married to Sabine Azéma and Florence Malraux. The battle scenes – including one lengthy nocturnal skirmish in a French town – rival anything from more heralded war movies like ‘All Quiet on the Western Front’ and ‘The Big Parade’, yet this film is an emotional as well as technical triumph. Paul’s self-absorbed narrative branches out into a network of polyphonic plot lines, introducing a cast of neurotic and touching characters – all seeking, finding or avoiding each other in ’90s Paris.

Slightly pompous preamble aside, this ‘Beauty and the Beast’ is pure joy, a self-conscious but never precious attempt to revisit childhood fantasies and half-remembered dreams. He delivers the same coolly detached performance, too, though it works better in this context. | Remaking James Toback’s 1978 ‘Fingers’, director Jacques Audiard (‘Read My Lips’) has turned the story of Tom (Duris), a petty Parisian crook specialising in real-estate swindles and classical piano, into a melancholy study of alienation and reinvention. Pascale Bailly ( Auteurs ) Laurent Cantet Philippe de Broca, French film director best known for his eccentric, irreverent comedies, made with enthusiasm and technical skill. The Beast’s ornate, decaying castle – ringed with thorns and filled with grasping hands – is a place of terror, wonder and mourning, the perfect reflection of its tragic, noble occupant.

In 2012, Lavant made his first true masterpiece, Holy Motors. DJ, 1934’s ‘L’Atalante’ is the single feature from the then 29-year-old French master Jean Vigo and was made as its director died of TB. Drama.
Kassovitz has made only one film before (the droll race-comedy ‘Métisse’), but ‘La Haine’ puts him right at the front of the field: this is virtuosic, on-the-edge stuff, as exciting as anything we’ve seen from the States in ages, and more thoroughly engaged with the reality it describes. treating family ties as a business arrangement and calling in a genetic favour: this distant matriarch has the same disease that years ago killed her first son by her older, softer husband Abel (Jean-Paul Roussillon) and now she wants one of her three adult kids, Elizabeth (Anne Consigny), Henri (Mathieu Amalric) or Ivan (Melvil Poupaud) to donate blood marrow to increase her chances of survival. The beauty of monochrome ’50s Paris helps, but the magic is in observing the thrill even a maltreated child will snatch from a book, a film or a day truanting at a funfair, through the gaze of a former critic whose elation at getting his hands on a camera burbles through every shot.

SJO, Le mépris. Hélène Chevallier, R 33,622 The sets, special effects, photography, pace and performances all contribute to the brash comic-strip vivacity, and even the fairytale romance avoids sentimentality. In one word: Emotions.’ His succinct and, let’s be honest, utterly hip rejoinder fluently captures what we’re about to undergo with Godard’s mischievous tenth film, ‘Pierrot le Fou’. 1280’, but this eccentric, darkly comic look at a series of bizarre murders is stylishly crafted and thoroughly entertaining.

PT, At first, Kechiche’s follow-up to the admirable ‘La Faute à Voltaire’ looks set to be a fairly routine account of life in the Maghrebi ’hood, with 15-year-old Krimo mooning over Lydia while his ex insists to any kid who’ll listen that they haven’t in fact split up. (literally, ‘Other People’s Taste’) is a culture-clash comedy with the emphasis on ‘culture’. Silly and meandering, the film is a loose parody of ‘Citizen Kane’ and although for legal reasons it has never been sold on VHS or DVD, ‘Le Grand Détournement’ has slowly gathered a following, achieving cult-comedy status in France. CA, ‘Our sexual desire has to be seen as the product of centuries of repressive and emasculating Catholicism... it is always coloured by the sweet secret sense of sin,’ mused Buñuel in his autobiography ‘My Last Breath’. No question of grace here, simply of grind and grime as four prisoners – joined and eventually betrayed by a fifth – laboriously tunnel their way to a derisory glimpse of freedom. He wants to tell you stories, but he can’t find a story big enough to deal with his sense of contrasts, his wish to grasp fleeting moments, his recurring memories.

Drama. During the silent and early experimental periods, great French auteurs helped revolutionize the medium, shaping the way for films to come. Beautiful, tranquil, but increasingly menacing clues to a love affair with a girl he may or may not have killed. Then, there’s that classic Miles Davis score, recorded in only two days while the musician was visiting Paris. 115 min Roger Miremont, Godard’s return to celluloid after a decade of video is in one sense forced: his finances were drying up, and he himself admits that the film was made as a passport back into the business. During World War II Godard became a naturalized citizen of ... Luc Besson spent the first years of his life following his parents, scuba diving instructors, around the world.

Devilishly suspenseful, Henri-Georges Clouzot’s thriller about two women who conspire to knock off a sadistic boarding-school headmaster (Paul Meurisse) – one of the women is his wife, the other his mistress – has all the dark humour and clever tension of a Hitchcock. 6,223 |

Dita Parlo plays Juliette, the smalltown girl married off to Jean (Jean Dasté), captain of L’Atalante, a grubby barge plying the waterways of rural France. Demy’s second musical film after ‘The Umbrellas of Cherbourg’, ‘Une Chambre en Ville’ once again demonstrates the director’s ability to whip even the most banal. | The ultimate night-time film noir noir noir... until Belmondo pulls his own eyelids shut when he dies. Centreing on a lavish country house party given by the Marquis de la Chesnaye and his wife (Dalio, Gregor), the film effects audacious slides from melodrama into farce, from realism into fantasy, and from comedy into tragedy.

He combats the inertia and boredom of his frustrated antagonists with a thrusting, jiving camera style which harries and punctuates their rambling, often very funny dialogue. Audran and Bouquet, as the first of Chabrol’s recurring Charles/Hélène couples, are superb in discovering ‘secret’ parts of each other denied as much by complacency as convention. It conjures up images of white whales and crackbrained captains, of naysaying notaries and soup-spilling sailors.
Either way, you’ll find plenty to tickle your Francophile fancy in this countdown of the best French films released between 1902 and 2019. Wryly and delightfully witty. Stars: Pity, however, about the ‘silent’ dreamy flashbacks. In 1959 François Truffaut, neglected son, passionate reader, delinquent student and cinephile, wrote and filmed one of the first glistening droplets of the French New Wave, ‘The 400 Blows’, in which Antoine Doinel (Jean-Pierre Léaud) demonstrates – unforgettably – that a good brain and bad parents don’t necessarily turn a boy into a talented film director, although they will, one way or another, turn him into a liar. Around midnight, a young couple and their transvestite maid prepare for an orgy. Jérémie Renier, Drama. Fast-forward to today where you have directors like Anne Fontaine, Catherine Corsini, and Catherine Breillat whose output is consistent. DC, Adapted from a Georges Bernanos story, ‘Mouchette’ describes the life and tribulations of a poor, barely mature peasant girl (played with sullen but affecting grace by non-professional Nadine Nortier), and remains a magnificent and deeply rewarding example of Bresson’s stripped-down methods of cutting and framing, sound and dialogue, performance and movement.

24. The action unfolds in Nantes (where Demy spent much of his childhood and adolescence), against the backdrop of the historic 1953 workers’ strike; and yet, the film is essentially a love story between a steelworker (Richard Berry) and an aristocrat (Dominique Sanda). Drama, Fantasy. | The politics of the piece are confrontational, to say the least, but there is a maturity and depth to the characterisation which goes beyond mere agitprop: society may be on the point of self-combustion, but this film betrays no appetite for the explosion. | Gross: The characterisations are a delight, and if the pace is occasionally as stately as the Tachycardian royal title (King Charles V-and-III-makes-VIII-and-VIII-makes-XVI), it merely allows more time to gape at the architecture of Tachycardia, a cool collage of Venetian canals, Bavarian castles and New York tower blocks that is vast, monolithic and truly vertiginous.


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