A-Z French film titles
cinema
| Site: | dolanguages |
| Course: | dolanguages |
| Book: | A-Z French film titles |
| Printed by: | |
| Date: | Friday, 22 March 2019, 5:25 AM |
Table of contents
- French film titles
- Deux jours, une nuit-Les frères Dardenne
- Au revoir les enfants-Malle
- Entre les murs-Cantet
- L'auberge espagnole-Klapisch
- La haine-Kassovitz
- La vie en rose-Olivier Dahan
- Le Corbeau-Clouzot
- Le dernier métro-Truffaut
- Le grand voyage-Ferroukhi
- Les choristes-Barratier
- Les quatre cents coups-Truffaut
- Manon des sources-Berri
- Monsieur Batignole-Jugnot
- Un long dimanche de fiançailles-Jeunet
- Images for front page
- La rafle
- Sans toit ni loi-Agnès Varda
| Film | Director | Resources Ready | Boards |
|---|---|---|---|
| Au revoir les enfants | Malle | YES (linguascope) | AQA, Eduqas,EDEXCEL |
| Chocolat | Claire Denis | EDEXCEL | |
| Cléo de 5 à 7 | Agnès Varda | EDEXCEL | |
| Deux jours, une nuit | Les frères Dardenne | EDEXCEL | |
| Entre les murs | Cantet | YES | AQA, EDEXCEL |
| Intouchables | Nakache et Toledano | YES | Eduqas,EDEXCEL |
| Jean de Florette | Berri | YES | In support of Manon des sources |
| L'auberge espagnole | Klapisch | YES | AQA |
| La haine | Kassovitz | YES | AQA, Eduqas,EDEXCEL |
| La vie en rose | Dahan | EDEXCEL | |
| Le dernier métro | Truffaut | YES (linguascope) | EDEXCEL |
| Le grand voyage | Ismaël Ferroukhi | YES (linguascope) | Eduqas |
| Les choristes | Barratier | YES | Eduqas, EDEXCEL |
| Les 400 coups | Truffaut | YES | AQA, CCEA,EDEXCEL |
| Manon des sources | Berri | YES | CCEA |
| Monsieur Batignole | Jugnot | Eduqas | |
| Un long dimanche de fiançailles | Jeunet | YES | AQA,EDEXCEL |
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A female worker has been off with depression and finds that her job no longer exists; the boss is giving everyone a 1000 euro bonus instead of keeping her on. She has the weekend to try to persuade her co-workers to relinquish this windfall to allow her to keep her job. Marion Cotillard portrays the hope, energy and anguish required to undertake this task with aplomb. The frères Dardenne who work out of Liège in Belgium have built themselves a niche in European cinema with dramatic works of social-realism. The catalogue of work they have put together starts to resemble the Rougon Macquart series by Emile Zola in the 19th century in its rich variety.
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Towards the end of an illustrious career, Malle produced what many consider to be his masterpiece. The film recalls an event that marked Malle's childhood and which he thought about every day; like many schools in France during the occupation, fugitive Jewish students were taken in and sheltered from Vichy government backed organisations, whether it be the police or the rapacious Milice. The partially autobiographical account is seen through the eyes of young Julien who witnesses the arrival of a mysterious group of new students in the dormitory. The period over which the film takes place is a voyage of discovery for Julien as he gradually befriends Jean Bonnet. The film takes its time as it allows the pressures of daily existence reveal themselves; interestingly we feel the tension between the head of the school and the children's parents many of whom are doing well out of the war, a metaphorical reflection of the state of France at this time. We see privations, the lack of food, the cold and the fear in which people are living surrounded by the occupying forces.
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These exercises are in the linguascope guide
These exercises are in the linguascope guide
These exercises are online
These exercises are online
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We are used to vicariously viewing school life in "fly on the wall" educational documentaries such as Educating Essex and Yorkshire where cameras are set up to capture scenes which are then edited together to concentrate on a range of dramas which interest the director. Films embracing classroom scenes from Vigo's Zéro de Conduite and Truffaut's Les 400 coups have marked the history of French cinema; school days seem to be an endless source of fascination for French audiences. In the charming Etre and avoir Nicolas Philibert captured a soon-to-retire teacher's last year in a tiny one class primary school with Etre et avoir. The global hit Les Choristes by Barratier was a feel-good hit which again proved that seeing children make good against the odds was a powerful force. The genesis of Entre les Murs was unusual. François Bégadeau wrote an autobiographical novel of a year teaching French language and literature in a suburban school and the director, Cantet, uses the author to perform as himself in the film using amateur actors to play the students he teaches. The film traces, in parallel, the lives of the teachers and the pupils, cutting mainly between staffroom and Marin's (Bégedeau's) classroom. First and foremost it is the diverse characters of the students which is of interest as they begin to assert themselves in mid adolescence; one can feel the attempt to impart French language and culture cracking at the seams as the teacher endeavours to use out-dated didactic techniques to get his message across, albeit with lashings of humanity. With students coming from all over the world, this classroom, illustrates well France's ethnic diversity and issues around identities, loyalties and fears of expulsion are integrated well into the texture of the film. Challenging from beginning to end the film eschews any sentimentality, is very matter of fact yet strangely endearing. This blend of documentary style with rehearsed acting is interesting filmically as it harks back to the 1920's and Nanouk of the North the first full-length documentary about the lives of Eskimos. Much of the action, despite appearing authentic, was staged for effect; unlike Nanouk, however although Entre les murs is staged, one really does get the feeling that Cantet really captures the essence of current everyday life in the classroom. .
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Marcel Pagnol's original comic tragedy Manon des sources was made as a film; displeased at the 4 hour version being severely cut, he wrote a novel of the story in which he included the content of what became Jean de Florette. Claude Berri, on reading the novel decided to film it in two parts; with its mixture of humour, pathos, Provençal backdrop and haunting melodies proving to be a big hit worldwide. Le Papet and Ugolin. the Soubeyran, uncle and nephew conform to the townie stereotype of the peasant farmer-they are mean, canny and don't like outsiders. When a townie, Jean Cadoret shows up to take over the farmhouse and land left him by his mother, Le Papet and Ugolin plot against him to encourage him to give up on his dream of creating a self-sustaining farm. Ugolin cosies up to the family, ostensibly helping them out at every turn, particularly when drought sets in and there is not water to feed Jean's crops. The film is brought to life by the stellar performances of Yves Montand as Le Papet, Daniel Auteuil as Ugolin and Gérard Depardieu as Jean Cadoret and there is a tremendous feeling of deflation as the film finishes; surely this can't be it. Noone watching Jean de Florette should deprive themselves of watching the sequel Manon des sources, which was filmed straight after to enjoy/wallow in the full tragedy.
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Nakache and Toledano had worked with with Omar Sy on a number of projects and when this extract from the life of Philippe Pozzo di Borgo's autobiography Le second souffle was worked up into a script, he seemed to be the perfect vehicle for the ex-gaol bird male attendant to quadriplegic Philippe. In Le second souffle, Abdel is a north African whose wilfulness and casual but caring attitude towards seeing to the needs of his boss appeal to the millionaire who hates to be treated as a victim. The film chronicles the development of the mutually beneficial relationship between Philippe and Driss (Abdel) from unlikely beginnings; Driss is a stereotypical under-educated inhabitant of the suburbs, kicked out by his step-mother, and whose lifestyle clashes hopelessly with the luxurious, money-no-object background of Philippe. However, as in life "le courant passe" and straight-talking, impetuous Driss starts to make life worth living again for a man who for all his money is finding it hard to reassert himself after his catastrophic hang-gliding accident. In the same vein as Les Choristes or Amélie, this is the feel-good film par excellence with many amusing comedic moments; the film is thoroughly enjoyed by students and despite being relatively shallow in terms of the socio-cultural side, can be studied from many points of view including what elements contribute to making a popular hit piece of entertainment. This is an interesting subject of study in that few French films achieve such popularity even within France.
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German commentary |
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Initially sceptical about this film as a subject for study as I knew it was mainly filmed in Barcelona , I was struck by how contemporary it felt and how well it fitted into the student perspective of a world of gap years and communal living in flats in exotic destinations. Xavier plays a student on the Erasmus programme gaining experience abroad by learning Spanish inorder to gain a well paid job with an acquaintance of his father. The film traces the way students interact with each other, falling in and out of love, helping each other cope with precarious amorous situations. Despite the French language being relatively side-lined at times, the film has plenty of relationship related thematic content for discussion and the dénouement when Xavier decides what he will do with his life is interesting if not that surprising. It is also useful to witness a time, only 10 years ago, when young people are not yet completely comfortable with homosexuality. These materials will enable you to keep your lesson content in French despite the fact that many parts of the film itself are in English or to a lesser extent Spanish.
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English and French subtitles |
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When we, in 2015, see Mathieu Kassovitz in a panel show (Bouillon de Culture) back in 1995 wearing a baseball hat incorporating a cannabis leaf http://www.ina.fr/video/I06103277 we are perhaps shocked at the youthfulness of the director of a film which has remained an icon of French cinema for the past 20 years. Even more shocking perhaps is the fact that the types of events portrayed seemed to keep happening; the film has been to some extent prophetic of the way French society was to develop. Following a few short films, Kassovitz made Métisse (also known as Café au lait), a feature length comedy before La haine. It incorporated not only several of the same actors but also many of the themes which would be taken up by the more celebrated film. Kassovitz was so insensed at the death of a young African in police custody that he started writing the script for what was to become La haine on the spot. Funding was obtained from Lazenec productions rather than through more official channels which would have assured income in anticipation of profits and a carefully planned production process began culminating in shooting in a suburban town Canteloup les Vignes and in Paris itself. The resulting film in which the ethnically varied trio of Vinz (Jewish background), Saïd (Maghrébin background) and Hubert (African background) play out an intense drama, half in the banlieue town and half in Paris, intersperses fast-moving dramatic action with leisurely periods of joke-telling and playing with language as it careers into its final cataclysmic scene. From the cinematic point of view there is a huge amount to comment and the characters themselves are individual enough to provoke lively discussion about motivations and ethics. With La haine having been such a success, it is a huge shame that Kassovitz has not yet produced an equally substantial follow up.
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xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx English subtitles |
French subtitles |
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not yet available; versions of film available below |
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This biopic of Edith Piaf the legendary French singer, who had she lived a generation later who have been part of the 27 club, traces her life from childhood to her death. The story incorporates events that may or may not have happened; Piaf's own account of her own childhood are said to be fanciful. Later events occurred in the public eye such as her affair with boxer Marcel Cerdan which ended so tragically. Marion Cotillard playing the grown up Piaf is more than capable of expressing the full range of emotional reaction as each tragedy and triumph unfolds. Despite her height she manages to persuade us that she is the singer, although what could replace the original black and white cinematography of the iconic performance of "Je ne regrette rien" at the Olympia? La vie en rose represents a whole sub-genre of French cinema which has highlighted the lives of many of its cultural icons such as Chanel, Claude François and Serge Gainsbourg.
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French subtitles (different title, same film) |
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not yet available, films and books available for sale below |
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Viewing entertainment material that has been produced in conditions of censorship and for an audience being subdued by a foreign occupying force feels like quite a surreptitious activity. Clouzot who went on to direct classics of French cinema such as Quai des Brumes was working under very constrained conditions when he made this film noir. At the end of the war he was condemned by both sides for the content of the film and had to be rescued from a very precarious position by fellow artists. There is no sign that a war is going on at all in the film; no mention of occupying forces or food shortages. What is going on is that people start to receive poison pen letters from a "corbeau", the name for a writer of such messages. The main recipient is a somewhat mysterious doctor Rémy Germain who is accused both of conducting an affaire with a married woman and of carrying out illegal abortions. The situation escalates with a patient at the hospital committing suicide when he receives a letter saying his cancer is terminal. An incredibly tense situation develops with the population of the small town finally pursuing a suspect through the town; uncertainty reigns until the very end. The film depicts a society losing its stability and ethical code hence the antagonism of all sides of the political spectrum. With its noir filming and simmering semi-erotic scenes alongside the evolving tension this film is fascinating to watch for a number of reasons; it is one François Truffaut watched in wartime as a young cinéphile.
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French version no subtitles (interviews on making of film) |
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coming soon, Manchester film guide |
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linguascope photocopy master available below, our resources not yet available |
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Truffaut's occupation novel is multi-layered in its origins. After successfully conveying the end of the studio system by filming La nuit américaine he decided to turn his attention to the intricacies of the theatre. Rather than setting the theatre in the present day he incorporated it into the German occupation. The theatre director, a Jew, is holed up in the basement whilst his wife undertakes the management of the latest play. Belying his Nouvelle Vague origins, Truffaut decided to film Le dernier metro in a studio so the whole film feels rather artificial, almost like a play in its own right-maybe this was the intention, layering the artificiality. The relationships between the principal three players is a love triangle which is characteristic of Truffaut . With so many different aspects of human relationships, wartime life (collaboration, censorship. anti-Semitism) and the theatre to discuss, this is a very interesting film to study.
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English subtitles |
all versions I could find have English subtitles |
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Reda is relatively integrated into the community in Marseille so it comes as a surprise when his father announces that he is to drive him to Mecca to the Haj. Initially relations are cool and distant as the two inhabit different worlds but as they travel and meet a range of people who affect them differently relationships thaw. A beautifully filmed work, this was the first film to capture the Haj in Mecca. The film is in a mixture of French and Arabic.
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English subtitles |
French and Arabic-French subtitles |
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not available |
not available |
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Both linguascope photocopy master and resouces to right available |
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One of the successful feel-good films of the early 2000, Les choristes has remained a popular work to study. The ever popular Gérard Jugnot plays the chief role of the melancholic Clément Mathieu who is just taking up his job as a new classroom supervisor (pion) in a school for maladjusted children in post war France. Mathieu quickly realizes that he can use his music composing and teaching abilities to good effect when he catches the children mocking him in the dormitory. Following auditions a choir takes shape and he even finds a soprano with exceptional abilities. Popular with students of all abilities this film has some interesting themes ot discuss.
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English subtitles |
No subtitles but making of, director's commentary and interview |
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not available |
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When the film Les 400 coups hit the Cannes festival in 1959, the dreams of a young cinema fanatic were finally realized. The young Truffaut's childhood, like that of the main character was steeped in love for this art form; he eventually set up a ciné club (which failed) before being taken under the wing of the renowned critic and founder of the influential Cahiers du Cinéma, André Bazin. He like several other future directors such as Jean-Luc Godard became out-spoken critics of the cinema of the day, the so-called cinéma de qualité. They aspired to producing films which did not subserviently depend on the reproduction of successful books and to get out of the studio; this was to culminate in the Nouvelle Vague of which Les 400 coups was to be an example. Shot on a small budget subsidized by his wife's father the film was at least partly biographical; Truffaut had been an unwanted child and grew up with his grand-parents and we join the film as cracks in the parent/step-parent/child relationship begin to appear. The portrayal of the harshness of education at the time and straitened circumstances contrast starkly with today's in many ways more liberal society; where the film excels is in showing the young people asserting their individuality and breaking away from the everyday constraints, in much the same way as Truffaut was trying to do filmically. Tense, bitter scenes alternate with whimsical, humorous ones with a lilting musical score binding the whole together to create classic coming of age film with its memorable ending. Les 400 coups is a fascinating film to study with its portrayal of the clash between youthful deviation and authority, whether it be parental, school or the more formal police setting.
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I can only find versions with English subtitles |
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Ugolin is successfully producing carnations for market thanks to having access to a reliable water supply. His uncle wants him to marry to keep the Soubeyran line going and Ugolin falls hopelessly in love with Manon, the daughter of Jean de Florette whom the two men had inadvertently killed by blocking his water supply. When Manon who is a goat herd in the hills above the village accidentally overhears a conversation revealing the Soubeyran's guilty secret, all hell is let loose. This tragedy is beautiful to watch and very sentimental with a twist at the end which is harrowing. This film has been a popular subject of study since it came out and is timeless in its appeal.
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English subtitles |
May have French subtitles-check |
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not yet available; films for sale below |
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This popular hit by Gérard Jugnot of Les choristes fame was critically acclaimed for its portrayal of casual and more organised collaboration with the enemy during the German occupation. Monsieur Batignole is a butcher who lives below the flat belonging to a Jewish family. His future son in law, a writer, is anti-semitic and pro-German whilst Batignole is initially opportunistic. After the Jewish family is arrested, however, his heart strings are pulled by becoming involved with the son of the family who has escaped. Batignole from then on is transformed and intent on doing the right thing. Students will find this film very engaging, although it is just a variation on all the other films of this genre in many ways.
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No version with English subtitles seems to be available currently |
French version, no subtitles |
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not available |
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After Jeunet's world wide success with Amélie, he was handed an enormous budget with which to make Un long dimanche de fiançailles. The resulting drama, based on a novel of the same name, traces the undaunted efforts of Mathilde to find her fiancé who disappeared in the war (first world war) ; she cannot, like many people, believe that the love of her life is dead and within a series of complicated sub-plots meets relevant people who explain their role which is presented to us in the form of flashbacks. As is customary with Jeunet, every scene is endowed with the highest level of technical and aesthetic artistry, with first world war trench scenes, battles, a field hospital housing a ballon, war time Paris all being rendered in extraordinary detail. Close ups of mechanical devices, and whimsical humour also populate his cinematography; the postman is a particular figure of fun as he arrives with the results of Mathilde's research. There is plenty to talk about in this film which has much to commend it; it is however important for students to make sure they have a good summary of it to keep on top of the labrynthine story. The film has a particularly strong resonance during this period when we are commemorating a century since the events pictured occurred so it is worthy of study for that reason alone.
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English and French subtitles and bonus material |
Same edition as the one on left |
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Roselyne Bosch worked closely with Nazi hunter Serge Klarsfeld to produce a film which would provide a film which would capture as much of the story of the Rafle du Vel' d'Hiver as possible. In order to help make the account as authentic as possible two survivors, Joseph Weismann and Anna Traube and their families provide the focus for the film and their stories are interwoven to provide dramatic interest. The cycle track and the internment camp at Beaune le Rolande were reconstructed in Hungary and provide a harrowingly accurate background for the events of 1942 which saw 13 000 men, women and children taken by the French police.
Select from the drop-down menu below to choose which variant of the materials you would like to purchase. La rafle If you would like to purchase through a school invoice, please go to this page. Purchase by email: Simply email me, preferably using your school email address and I will invoice you and set you up.
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xxx1 xxx1 |
xx2 xxx2 French subtitles |
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xxx3 |
xx4 German commentary |
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Agnès Varda, often loosely associated with the French Nouvelle Vague of the 50s and 60s has produced a rich oeuvre of film often dealing with the female condition. Cléo de 5 à 7 is possibly her most enduring work, the film covering a day in the life of a singer Florence (Cléo) Victoire as she waits for the results of a test to confirm whether or not she has cancer. Varda's films pull no punches; Le Bonheur examines the effects of an extra-marital affair on the people involved. In Sans toit ni loi, the audience is confronted with a death; the body of a young woman who has died of the cold is found in a ditch. The young woman has been roaming the country as a vagabond and the film consists of flashbacks of her dealings with other people over the last few months. Certain scenes appear to be interviews with people who have met the young woman, Mona, and it transpires that she used to have a comfortable existence in Paris but decided that this wasn't what life was about. An unsettling film, there are no answers, only questions; the central performance by Sandrine Bonnaire is excellent.
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