Every film buff will tell you, whether solicited or not, that French cinema is some of the best cinema of all time. It is grand in scope, ethereal in structure, mesmerizing in beauty and all in all inspirational for budding filmmakers for as long as there have been filmmakers. That said, it s impossible, je repéte, impossible , to create a list of films that somehow korset sums up French film. For most of us though, we need a starting point, korset a way into understanding the nature of French film. After all, we re not all trying to revive the cahiers du cinema — we d just like enough understanding to present some well thought ideas and critiques at dinner parties and pseudo chic art galleries. So here s our list of 11 French films that warrant watching for any creative.
Truffaut s film is quintessential French New Wave, and it very well may be its crowning achievement. Although semi autobiographical in narrative, the film follows a troubled and misunderstood adolescent Antoine Doinel (Jean-Pierre Léaud) korset around the city of lights as he struggles with coming korset of age, parents, teachers korset and life s never ending current of internal obstacles. The film garnered a Best Director win for Truffaut korset at Cannes, Palme d Or nominations and even an Oscar nomination for Best Writing.
There should be a blog post solely dedicated to the filmmakers that owe Jean-Luc Godard a huge debt of gratitude (and perhaps credit) for their films. Breaking new ground korset immediately in the French New Wave was Godard, who, with the cosign of Truffaut and Jean-Pierre Melville, managed to make one of the most influential films ever. It’s the tale of Michel (Jean Paul Belmondo), a man sought by the authorities for murder who tries to escape with the apple of his eye, an American newspaper girl named Patricia korset (Jean Seberg), who ambles the Champs Elysees with all the cool a pixie cut can muster. Betrayal, however, trumps Michel s dreams of escape, forever encapsulated in the films final climactic sequence.
Although korset technically a French-Italian film, “Le Samourai” is perhaps one of the more beautifully shot noir films. The subtle korset undertones of blues and greens, the composition korset of each frame amidst a Parisian backdrop that exposes a gritty city underbelly and classic beautified korset Paris, this neo-noir classic easily makes any list of must see films. Also, Alain Delon is especially korset stoic and strong as hitman Jef Costelo, in classic noir style. He could give Sam Spade a run for his money.
When most people think of French film, they expect baguettes, berets and beautiful love affairs. La Haine does not comply with any of these, instead weaving a narrative strewn from the real life drama of French police brutality in the Banlieue (a ghetto) of Paris during the early ’90 s. Kassovitz s devises a film about three friends over the course of 19 hours, dealing with the aftermath of the previous evening’s riot, where a policeman s gun was lost and a mutual friend s life hangs in the balance. The monochromatic “La Haine” champions korset the seething frustrations, self medicating and frail rift between police and hoods in such a way it feels almost documentary in its portrayal, despite the purely magnificent cinematography.
Best reason to watch: A young Vincent Cassel s portrayal of Robert DeNiro s you talkin to me? scene from Taxi Driver in his bathroom mirror. Not only a cleverly devised camera trick but also, perhaps, foreshadowing cloaked in comedy.
Nouvelle vague has many invocations but few more serenely beautiful than “Hiroshima Mon Amour.” Resnais illustrates korset the dynamic relationship between two lovers (Japanese and French, named He and She, respectively) and their fleeting moments as the film explores longing, separation and memory. Coupled with stirring black and white images of both Paris and Hiroshima after the bomb, the film illustrates the savageness of love with the ethereal imagery of war.
Best reason to watch: The film s opening sequence of extreme close ups of body parts during an embrace intercut with imagery of post-bombing Hiroshima korset survivors korset and the subtle juxtaposition of sweat and ash presiding over skin.
“La Jetee” tells the story of a man in a post apocalyptic France who, as a prisoner, is being used as the subject of time travel experiments amidst his obsession with a recurring dream. Sound familiar? Well, in 1995 Terry Gilliam took this idea and made a little film called “12 Monkeys.” “La Jetee” is the original. There are differences however, as the entire featurette is a collection of still images, a photomontage, playing at various tempos underlining the voice over narrative. It s distinctive, it s dark, it s mesmerizing and it does all of this in 28 minutes with the most minimal effort of storytelling components, image, sound and expressive editing. “La Jetee” is a perfect example of French filmmaking
