Ginette Vincendeau

Joseph Losey’s sumptuous portrait of Nazi-occupied Paris sees an icy Alain Delon as an art dealer on a Kafkaesque quest for identity.

The great director established himself as a voice of the left with this poetic tale set on the working-class margins of French society.

Over the course of an extraordinary six-decade career, Agnès Varda fused her feminist politics with an original artistic practice that made her a leading figure of the French New Wave.

In his first major film to capture the Provençal setting that would come to define his work, Marcel Pagnol brilliantly combined comedy and emotion, theater and cinema.

Brigitte Bardot delivers her greatest performance in what would be Henri-Georges Clouzot’s final masterpiece, a stinging indictment of a justice system run by a moralistic patriarchy.

French cinema titan Sacha Guitry brings a savage misanthropy to this exploration of a toxic marriage and the arbitrariness of the legal system.

Although afflicted by on-set drama and offscreen tragedy, Jean Renoir’s La Chienne shows the director’s early mastery of sound cinema and features the trademarks that would come to define his style.

In the hands of director Serge Bourguignon, a potentially sensationalistic story becomes a poetic and complex investigation of love and pain.

Anouk Aimée’s beguiling chanteuse, the title character of Jacques Demy’s romantic debut feature, is the figure from whom the director’s entire cinematic world springs.

French auteur cinema has increasingly been exploring themes of sex through scenarios whose explicitness verges on the pornographic.

When it came out in November 1958, The Lovers scandalized conservative France, just as it had outraged Catholic Italy at the Venice Film Festival two months earlier. At the same time, the film solidified the reputations of director Louis Malle and st

La Pointe Courte is a stunningly beautiful and accomplished first film. It has also, deservedly, achieved a cult status in film history as, in the words of historian Georges Sadoul, “truly the first film of the nouvelle vague.”

Rohmer, like Godard and Truffaut, combined his double cinematic heritage with a passion for classical literature, which accounts for the decorous manners and language in his films.