google_ad_height = 600; This one is also great for beginners, because there is some English sprinkled throughout as well. Clouzot’s entire body of work deserves to be revisited, but ‘The Wages of Fear’ is ground zero and undoubtedly the place to start. English subtitles. Nothing about the film’s coming-of-age narrative, nor the rise and fall of its core romance, is intrinsically new or daring, yet Kechiche’s freewheeling perspective on young desire is uncommon in its emotional maturity. Bresson’s goals were deep – to sweep away the dross of expectation and viewing conventions by means of a purified cinema. Jean Cocteau is a famous French writer, author of the beautiful novel Les Enfants Terribles. Full of tough truths yet open-hearted, it’s a rare but winning blend of magical and social realism. As their relationship begins to fray, it all goes horribly wrong. TR, In spite/because of what must have seemed impeccable credentials – Clair, the two leads, a screenplay by dramatist Armand Salacrou, and nostalgic, Méliès-inspired sets by Barsacq – this version of the Faust legend is a turgidly literary cocktail of escapist fantasy and Sartrean engagement which could not even plead the excuse of Carné’s comparable ‘Les Visiteurs du Soir’ of having been filmed during the Occupation. Amateur illusionist Céline (Juliet Berto) and studious librarian Julie (Dominique Labourier) meet in a park and become practically inseparable — so much so that they can try on each other’s identities like best friends swapping favourite apparel. The image measures 764 * 1081 pixels and is 215 kilobytes large. 1996 polished to perfection by an unassuming professional.
But Malik is a clever individualist and he learns to read and write, and exploits a friendship with another (released) French-Arab prisoner to pursue his own drug deals and invest in a power base within the jail. Imbued with a dry, ironic sense of humour, the film is perhaps the director’s most perfectly realised, and certainly his most moving. Or, lots and lots of French films. 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. (Yeah, if you didn’t have to take notes, that would be easier.). Learning French becomes fun and easy when you learn with movie trailers, music videos, news and inspiring talks. The whole is summed up by the concluding line ‘happiness is no lark’. You can “live” those everyday situations and learn what words work when. In his angry yet compassionate denunciation of a rural society corrupting and undoing an unorthodox angel by self-interest, immorality, alcoholism and spiritual bankruptcy, the director conducts you to the heart of life’s paradox. French with All of the brilliant experiments with film language remain potent, from the montages of flash-frames to the bombastic poetry of the triptych finale; even the gags are still funny. This is an anti-war film, too, of course, made on the eve of one conflict and looking back at another. It is difficult to close this top without mentioning Intouchables (Untouchable). The rapport between father and daughter is especially moving. Director and co-writer Jacques Rivette conceived Céline and Julie as a light-comic breather following the heavy experience of the epochal, politically charged ‘Out 1’ (1971). Those whose knowledge of French Nouvelle Vague.
It traces paunchy, middle-aged publisher and lecturer Pierre Lachenay (Jean Desailly) as he heedlessly ditches his loving wife and child so he can romp around the countryside with a coquettish air hostess (Françoise Dorléac). Darker, more abstract and desolate than his earlier work, this shows, set piece by set piece, the breakdown of the criminal codes under which Melville’s characters had previously operated. GA, ‘Blue is the Warmest Colour’ is a minutely detailed, searingly erotic three-hour study of first lesbian love. If you haven’t experienced true immersion, this is the best practice for it. But the laughters alone make it a great experience and a movie worth watching any This animated feature is also one of my all-time favorite French Movies. Its piano musical theme is utterly famous; if you have never heard it, I advise you to click here and discover it. Cantet (who parents were both teachers) has the actual teacher on whose book ‘The Class’ is adapted from, François Bégaudeau, playing Marin. All rights reserved.
Superb. The shared purpose of the French is to the fore (one of the film’s many illusions: we can’t be sure such unity would persist in peace). It is not a personal favorite, but absolutely worth the watch. Maarten Hofman
DJ, Eric Rohmer’s 1969 work made his name outside of France and preceded enduring works like ‘Pauline at the Beach’ and ‘The Green Ray’. Laurent Cantet’s Palme d’Or-winning realist drama falls firmly into the latter category. 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. Essentially, the plot is about an alibi, yet Melville turns this into a mythical revenge story, with Cathy Rosier as Delon’s black, piano-playing nemesis who might just as easily have stepped from the pages of Cocteau or Sophocles as Vogue. ‘The Artist’ is shot in exactly the same speechless, monochrome style as the movies in which our tragic hero, actor George Valentin (Dujardin), employs a canny arched eyebrow or breaks out into a rip-roaring tap-dancing routine to woo his adoring audience. Increasingly inventive as it progresses, Jeunet and Caro’s fast, funny feature debut entertains from sinister start to frantic finish. Goal: dismantle an international arms traffic masterminded by an important French government official. The collector of the title is a delectable nymphet, footloose in St. Tropez, who makes a principle of sleeping with a different man every night until two friends, declining to become specimens, decide to take her moral well-being in hand. One thing I love most about this tale (besides its depth of philosophical implications) is its stunning and melancholic soundtrack, and especially its famous piano theme. Ronet gives a remarkable, quietly assured performance as the alcoholic who, upon leaving a clinic, visits old friends in the hope that they will provide him with a reason to live. Quietly touching and profound, it epitomises the youthful delight Varda always shows for the tools at her disposal and her sensitive and easeful way of expressing the sways and shifts of life, love and desire. In a time of intolerance, protest and fevered passions, Robin Campillo’s glorious, moving memoir of his time in Aids activism group Act Up in ’90s Paris captures a sense of recurring zeitgeist: just swap in Extinction Rebellion to see how its story of politically engaged young people fearing for their futures still resonates. PDS, David Thomson calls Clouzot’s a ‘cinema of total disenchantment’.
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. Ophüls’s second French film following his return from the USA was adapted from three stories by Maupassant. Adapted from the novel ‘Grisby or Not Grisby’ by writer Albert Simonin himself, this film’s reputation has grown since its mediocre reception in the ’60s and is now a staple of French-speaking television. It was the making and the undoing of her: the pain somehow lent her singing an even greater emotional intensity, at the price of a punishing intake of drink and pills. Loner street-punk Alex (Lavant) joins a gang of elderly Parisian hoods whose plan to steal a serum that will cure an Aids-like disease is complicated by the deadly rival strategies of a wealthy American woman, and by Alex falling for the young mistress of a fellow gang-member (Piccoli). Rest assured, ‘real life’, strained through Sautet’s lens, is deeply watchable and amusing. Les Demoiselles de Rochefort is the most famous French musical (music composed by famous Michel Legrand who died a few days ago, on January 26th, 2019). An absurd montage, combining hundreds of clips from a dozen American movies (including ‘Jeremiah Johnson’, ‘All the President’s Men’ and ‘Rio Bravo’), this surreal film is surprisingly entertaining, mostly because writer-directors Michel Hazanavicius and Dominique Mézerette really push the idea to extremes: all dialogue has been absurdly rewritten and dubbed back into French. Written and directed by the French-Tunisian Abdellatif Kechiche, it is the richest film of his career. | day. Paul Dédalus is slowly realising that, as Gainsbourg wrote, ‘physical love is a dead end’.
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