MC's Top 100 French Films

[Qrazy]

Have at it. You have 2-3 weeks. I'll grade it similarly to the Japanese thread because I have no idea what I'm doing.

[Philosophe_rouge]

Groovy. I can do this one with slightly more ease than the Japanase list.

[Mysterious Dude]

Someone remind me of the rules. How many titles, etc.

[D_Davis]

I think I've seen 4 French films.

:(

[Qrazy]

Yes, someone remind us of the rules because I really have no idea what the best way to go about tabulating a consensus might be.

[Eleven]

From what I remember, each person can nominated 30 (sometimes 40) films for consideration, if something appears a certain number of times (usually 2 or 3), it gets put on the ballot. Then once the entire ballot has been compiled, everyone gets to make four tiers of ten films each, and points will be distributed that way.

[balmakboor]

I think I've seen 4 French films.

:(

I'm not much better off. I've always been far more entranced by East Asian film.

[Qrazy]

Thanks 11, follow those rules folks.

Just one other thing, feel free to make it any French language film (Quebec included), not only France.

[Philosophe_rouge]

Thanks 11, follow those rules folks.

Just one other thing, feel free to make it any French language film (Quebec included), not only France.

Okay, I wasn't sure about this. So it's really a french language list.

[Qrazy]

Okay, I wasn't sure about this. So it's really a french language list.

Yeah, I think that would be better so if I do Italian... Spanish/Portuguese... German... Russian... etc later it will be more all inclusive of the rest of the world.

I feel that the language(s) a film was made in is much more of a defining element than where it was distributed, etc.

[Raiders]

I feel that the language(s) a film was made in is much more of a defining element than where it was distributed, etc.

That doesn't make any sense to me, but OK. I would assume the film culture of a certain society/country would be more influential over a film than the language spoken.

[Philosophe_rouge]

Yeah, I think that would be better so if I do Italian... Spanish/Portuguese... German... Russian... etc later it will be more all inclusive of the rest of the world.

I feel that the language(s) a film was made in is much more of a defining element than where it was distributed, etc.
What about silent films like La Passion de Jeanne D'Arc, do they qualify?

[Spinal]

That doesn't make any sense to me, but OK. I would assume the film culture of a certain society/country would be more influential over a film than the language spoken.

Yeah, it would be weird to put Mexican and Spanish films together, but whatever.

[Qrazy]

That doesn't make any sense to me, but OK. I would assume the film culture of a certain society/country would be more influential over a film than the language spoken.

Upon reflection I agree, particularly prior to vhs and dvd availability... but I also just want to make the list as inclusive as possible (within reason).

And yeah, silent films (Joan) count.

[Melville]

Au hasard Balthazar
Blood of the Beasts
Chocolat (1988)
Emak-Bakia
Irreversible
La Jetee
La Promesse
L'Enfant
Lovers on the Bridge
A Man Escaped
The Man Who Planted Trees
The Mascot
Mouchette
My Life to Live
Napoleon
The Passion of Joan of Arc
The Piano Teacher
Playtime
Rififi
Shoot the Piano Player
The Tenant
Time Out
Three Colours: Red
Three Colours: White
Un chien andalou
Winged Migration

[Qrazy]

Au hasard Balthazar
Blood of the Beasts
Chocolat (1988)
Emak-Bakia
Irreversible
La Jetee
La Promesse
L'Enfant
Lovers on the Bridge
A Man Escaped
The Mascot
Mouchette
My Life to Live
Napoleon
The Passion of Joan of Arc
The Piano Teacher
Playtime
Rififi
Shoot the Piano Player
The Tenant
Time Out
Three Colours: Red
Three Colours: White
Winged Migration

Glad to see you enjoyed Ace in the Hole. For some reason it took me quite by surprise. I'm not sure why, but I didn't expect such a grand scope (cast size, shot composition, etc). Second-tier Wilder but still very good.

Based on your username (I assume you mean Jean-Pierre) have you happened to see any of Melville's harder to find films? Second Breath? Les Enfants Terribles (not sure if this is already out on criterion or soon to be released), Magnet of Doom, Leon Morin Priest?

[Spinal]

The 400 Blows
Amelie
Beauty and the Beast
Belle de Jour
Betty Blue
The Blood of a Poet
Caché
Camille Claudel
C'etait un rendez-vous
Children of Paradise
Claire’s Knee
Contempt
Fat Girl
Friday Night
Grand Illusion
Hiroshima, mon amour
Irreversible
I Will Walk Like a Crazy Horse
Kirikou and the Sorceress
L'age d'or
Last Year at Marienbad
A Man Escaped
The Man Who Planted Trees
My Life to Live
Night and Fog
An Occurance at Owl Creek Bridge
Orpheus
The Passion of Joan of Arc
The Phantom of Liberty
The Piano Teacher
Queen Margot
A Real Young Girl
Rififi
Secret Things
That Obscure Object of Desire
Trouble Every Day
Un chien andalou
Water Drops on Burning Rocks

[D_Davis]

This list is going to be bullshit because there are only three French directors worth seriously discussing, and they declared cinema a dead art before even making any films. I don't even see the point in participating.

[Melville]

Glad to see you enjoyed Ace in the Hole. For some reason it took me quite by surprise. I'm not sure why, but I didn't expect such a grand scope (cast size, shot composition, etc). Second-tier Wilder but still very good.

Based on your username (I assume you mean Jean-Pierre) have you happened to see any of Melville's harder to find films? Second Breath? Les Enfants Terribles (not sure if this is already out on criterion or soon to be released), Magnet of Doom, Leon Morin Priest?
I had heard almost nothing about Ace in the Hole, so I wasn't surprised. But the scope definitely made the movie; the wide shot of people getting off the train and running towards the mountain as the folk musicians play was brilliant, perfectly capturing the absurd horror of the whole thing.

As for Melville, my username refers to Herman—I should really get a Moby Dick avatar to prevent further confusion. Of Jean-Pierre's films, I've only seen Bob le Flambeur and Le Samourai.

[Melville]

Damn, I forgot about The Man Who Planted Trees. I've added it to my original post.

Edit: I also forgot Un Chien Andalou. I really should have put more thought into this.

[Qrazy]

This list is going to be bullshit because there are only three French directors worth seriously discussing, and they declared cinema a dead art before even making any films. I don't even see the point in participating.

I know man, I know. But by not participating wouldn't you really just be falling into their prove? Prove that cinema is alive Davis, prove that it's alive.

[NickGlass]

L'Enfant


Belgian.

Or is this survey just for French-language films? I hope it is, because I'd love to throw some Dardenne Bros. films on my list as well.

[Qrazy]

Damn, I forgot about The Man Who Planted Trees. I've added it to my original post.

Edit: I also forgot Un Chien Andalou. I really should have put more thought into this.

Well you'll have a couple weeks to go back and edit so no rush. In regards to Hermann... after recently reading Typee and Billy Budd I really need to get my hands on Bartleby. I'm reading a lot of Camus these days and I read somewhere that Bartleby was one of his major defining influences.

[D_Davis]

I know man, I know. But by not participating wouldn't you really just be falling into their prove? Prove that cinema is alive Davis, prove that it's alive.

You're right!

I feel so inspired!

:pritch:

[Qrazy]

Belgian.

Or is this survey just for French-language films? I hope it is, because I'd love to throw some Dardenne Bros. films on my list as well.

Do it up. I'm making it inclusive.

[Melville]

Belgian.

Or is this survey just for French-language films? I hope it is, because I'd love to throw some Dardenne Bros. films on my list as well.
Well, IMDb lists it as Belgian/French, and it's in French, so I assume it counts (especially if films from Quebec count).

[Melville]

Well you'll have a couple weeks to go back and edit so no rush. In regards to Hermann... after recently reading Typee and Billy Budd I really need to get my hands on Bartleby. I'm reading a lot of Camus these days and I read somewhere that Bartleby was one of his major defining influences.
Bartleby is good, but I really prefer Melville's novels. Have you read Pierre? It's spectacularly, bizarrely brilliant. I've never read Typee. Is it worth reading?

[Spinal]

I think I've seen 4 French films.

:(

All of them are Luc Besson films, aren't they?

[Melville]

All of them are Luc Besson films, aren't they?
What about that one about kung fu werewolves? That was French, wasn't it?

[Qrazy]

Bartleby is good, but I really prefer Melville's novels. Have you read Pierre? It's spectacularly, bizarrely brilliant. I've never read Typee. Is it worth reading?

Nope, only read those two and Moby. I'll check it out.

Typee was worth reading but it's much more of a thoughtful travelogue than real literature I'd say.

[Qrazy]

What about that one about kung fu werewolves? That was French, wasn't it?

Mmm Bellucci breast mountains... *salivates*

[Sycophant]

Yep. I'm another East Asian specialist. I've seen probably 20 or so French films (some of which I adore and are on my tops of all time), but I'll be abstaining from the nomination process. If the period between opening and closing of voting is long enough, I'll try to cram in a bunch of the nominees and may vote.

[Mysterious Dude]

Army of Shadows (1969)
Au Revoir Les Enfants (1987)
Band of Outsiders (1964)
The Battle of Algiers (1966)
Breathless (1960)
Caché (2005)
Casque d'or (1952)
Un Chien Andalou (1929)
Cleo from 5 to 7 (1961)
The Crime of Monsieur Lange (1936)
Les Demoiselles de Rochefort (1967)
Diabolique (1955)
Faces of Children (1925)
The Fantastic Planet (1973)
La Femme Nikita (1990)
The Fire Within (1962)
Forbidden Games (1952)
The 400 Blows (1959)
La Grande Illusion (1937)
Hiroshima Mon Amour (1959)
Jean de Florette (1986)
Jules and Jim (1962)
Kings and Queen (2004)
A Man Escaped (1956)
The Man Who Planted Trees (1987)
Manon of the Spring (1986)
Monsieur Hulot's Holiday (1953)
Napoleon (1927)
Orpheus (1950)
Pickpocket (1959)
Playtime (1967)
Port of Shadows (1938)
La Promesse (1996)
Le Samourai (1967)
A Trip to the Moon (1902)
Le Trou (1960)
Vivre sa Vie (1962)
The Wages of Fear (1953)
The Wild Child (1970)
Z (1969)

EDIT: Removed Alphaville, added Diabolique.

[Mr. Valentine]

The Passion of Joan of Arc
Rififi
Eyes Without a Face
The 400 Blows
Breathless
Le Samourai
Leon: The Professional
Amelie
Brotherhood of the Wolf
To Be and To Have
The Triplets of Belleville
Swimming Pool
A Very Long Engagement
The Dreamers
District B13
The Chorus
5x2
L'Enfant
Cache
Red
White
Blue

[soitgoes...]

8 Women (Ozon)
L'Âge d'or (Buñuel)
Amelie (Jeunet)
Army of Shadows (Melville)
Band of Outsiders (Godard)
Beauty and the Beast (Cocteau)
La Belle noiseuse (Rivette)
La Bête humaine (Renoir)
Blood of the Beasts (Franju)
Caché (Haneke)
Un chien andalou (Buñuel)
Children of Paradise (Carné)
The Double Life of Veronique (Kieslowski)
The Earrings of Madame de... (Ophüls)
L'Enfant (Dardenne/Dardenne)
Forbidden Games (Clément)
The Gleaners and I (Varda)
The Grand Illusion (Renoir)
The Green Ray (Rohmer)
Jean de Florette (Berri)
Le Jour se lève (Carné)
A Man Escaped (Bresson)
The Man Who Planted Trees (Back)
Manon des Sources (Berri)
Ménilmontant (Kirsanoff)
Le Million (Clair)
Les Misérables (Bernard)
An Occurence at Owl Creek Bridge (Enrico)
The Passion of Joan of Arc (Dreyer)
The Piano Teacher (Haneke)
Le Plaisir (Ophüls)
Port of Shadows (Carné)
Rififi (Dassin)
Rosetta (Dardenne/Dardenne)
The Rules of the Game (Renoir)
Story of Women (Chabrol)
Three Colors: Blue (Kieslowski)
Three Colors: Red (Kieslowski)
A Trip to the Moon (Méliès)
Wooden Crosses (Bernard)

[soitgoes...]

The Battle of Algiers (1966)

I thought about this one, but I figured I already had one film that kinda qualified (General Idi Amin). I'll save it for an Italian Top 100. Or better yet, I'll keep my fingers crossed for one called "African Films: 5 You Must See Before You Die."

[Boner M]

Army of Shadows (Melville)
Beau Travail (Denis)
La Belle Noiseuse (Rivette)
La Bete Humaine (Renoir)
Cache (Haneke)
Le Ceremonie (Chabrol)
The Children of Paradise (Carne)
Les Diaboliques (Clouzot)
Le Fils (Dardenne)
The 400 Blows (Truffaut)
Friday Night (Denis)
The Green Ray (Rohmer)
L'Intrus (Denis)
Kings and Queen (Desplechin)
Last Year at Marienbad (Resnais)
Loulou (Pialat)
Lovers on the Bridge (Carax)
A Man Escaped (Bresson)
Mouchette (Bresson)
Playtime (Tati)
La Promesse (Dardenne)
Les Rendezvous D'Anna (Akerman)
Rififi (Dassin)
Le Samourai (Melville)
Vivre sa Vie (Godard)
Wages of Fear (Clouzot)
Weekend (Godard)

[Raiders]

This list is going to be bullshit because there are only three French directors worth seriously discussing, and they declared cinema a dead art before even making any films. I don't even see the point in participating.

Three? That's bullshit and objectively wrong. I can only attribute that to the fact that you haven't seen much French cinema.

That would be like me saying there's only three Chinese directors worth discussing when I know you yourself could name a dozen others. It's just a matter of what you're familiar with.

[Duncan]

Three? That's bullshit and objectively wrong. I can only attribute that to the fact that you haven't seen much French cinema.

That would be like me saying there's only three Chinese directors worth discussing when I know you yourself could name a dozen others. It's just a matter of what you're familiar with.

Raiders, have a cup of coffee. It's early, and I'm about 99% sure D is making a Domino Harvey joke. If you are also joking, then I will help myself to a cuppa joe.

[D_Davis]

Three? That's bullshit and objectively wrong. I can only attribute that to the fact that you haven't seen much French cinema.

That would be like me saying there's only three Chinese directors worth discussing when I know you yourself could name a dozen others. It's just a matter of what you're familiar with.


Dude - it was a joke. I was making of fun of the time Domino Harvey said that there are only three Japanese directors worth talking about.

Gosh!

[Raiders]

:|

Am I to be expected to get these obscure references to bizarre posts made on the old forum?

What, you mean everyone else got it?

:sad:

[Kurosawa Fan]

Yeah... sorry Raiders. We uh.. we all pretty much got the joke.

[D_Davis]

All of them are Luc Besson films, aren't they?

No thank God, he is a terrible director.

I think I like one of his movies.

I'll have to think about what I've seen.

I know I've seen:

The Nest
Le Samourai
Brotherhood of the Wolf (which I think is terrible, and wouldn't vote for in a million years)
Il
Le Femme Nikita

[Melville]

Brotherhood of the Wolf (which I think is terrible, and wouldn't vote for in a million years)

Yeah, I vaguely remembered you saying you hated it, but it seemed unlikely that you'd pass up the opportunity to see kung fu werewolves (and, apparently, Monica Bellucci breast mountains).

[D_Davis]

Yeah, I vaguely remembered you saying you hated it, but it seemed unlikely that you'd pass up the opportunity to see kung fu werewolves (and, apparently, Monica Bellucci breast mountains).

Well, those two things (three actually) in a good movie would have been awesome, but in Brotherhood, all they do is highlight how terrible everything else is. :)

This film has three things going for it: Two breasts, and Mark Dacascos.

I think the film needs about 45 minutes trimmed, and some better editing to help the narrative unfold more fluidly.

[Raiders]

Atalante, L' (Vigo, 1934)
Army of Shadows (Melville,1969)
Au hasard Balthazar (Bresson, 1966)
Beauty and the Beast (Cocteau, 1946)
Belle noiseuse, La (Rivette, 1991)
Bete humaine, La (Renoir, 1938)
Contempt (Godard, 1963)
Coeur en Hiver, Un (Sautet, 1992) [aka A Heart in Winter]
Celine and Julie Go Boating (Rivette, 1974)
Diabolique (Clouzot, 1955)
Dreamlife of Angels, The (Zonca, 1998)
Eyes Without a Face (Franju, 1959)
Gleaners & I, The (Varda, 2000)
Green Ray, The (Rohmer, 1986)
Last Year at Marienbad (Resnais, 1961)
Man Escaped, A (Bresson, 1956)
Man Who Planted Trees, The (Back, 1987)
Masculin-Feminin (Godard, 1966)
Monsieur Hire (Leconte, 1989)
Mother and the Whore, The (Eustache, 1973)
Mouchette (Bresson, 1967)
My Life to Live (Godard, 1962)
Pickpocket (Bresson, 1959)
Playtime (Tati, 1967)
Rules of the Game, The (Renoir, 1939)
Sans soleil (Marker, 1983)
Shoot the Piano Player (Truffaut, 1960)
Touchez pas au Grisbi (Becker, 1954)
Umbrellas of Cherbourg, The (Demy, 1964)
Week End (Godard, 1967)

[baby doll]

Au hasard Balthazar (Robert Bresson, 1966)
Cléo de 5 Ã* 7 (Agnès Varda, 1961)
Les Demoiselles de Rochefort (Jacques Demy, 1967)
Lola (Jacques Demy, 1961)
Mouchette (Robert Bresson, 1967)
La Passion de Jeanne d'Arc (Carl Theodor Dreyer, 1928)
Pickpocket (Robert Bresson, 1959)
La Règle du jeu (Jean Renoir, 1939)
Les Vampires (Louis Feuillade, 1915)
Weekend (Jean-Luc Godard, 1967)

Beau travail (Claire Denis, 1999)
La Belle et le Bête (Jean Cocteau, 1946)
demonlover (Olivier Assayas, 2002)
Le Mépris (Jean-Luc Godard, 1963)
Mon oncle (Jacques Tati, 1958)
Orphée (Jean Cocteau, 1950)
Les Quatre cents coups (François Truffaut, 1959)
Sans soleil (Chris Marker, 1983)
Les Vacances de Monsieur Hulot (Jacques Tati, 1953)
Vivre sa vie: Film en douze tableaux (Jean-Luc Godard, 1962)

L'Atalante (Jean Vigo, 1934)
Céline et Julie vont en bateau (Jacques Rivette, 1974)
Chocolat (Claire Denis, 1988)
La Grande illusion (Jean Renoir, 1937)
L'Humanité (Bruno Dumont, 1999)
Judex (Louis Feuillade, 1916)
Perceval le Gallois (Eric Rohmer, 1978)
Shoah (Claude Lanzmann, 1985)
Les Roseaux sauvages (André Téchiné, 1994)
Y aura-t-il de la neige Ã* Noël (Sandrine Veysset, 1996)

L'Anglaise et le duc (Eric Rohmer, 2001)
Bande Ã* part (Jean-Luc Godard, 1964)
Les Bonnes femmes (Claude Chabrol, 1960)
La Cérémonie (Claude Chabrol, 1995)
Le Charme discret de la bourgeoisie (Luis Buñuel, 1972)
Le Jetée (Chris Marker, 1962)
Loulou (Maurice Pialat, 1980)
Monsieur Hire (Patrice Leconte, 1989)
Nuit et brouillard (Alain Resnais, 1955)
Pas sur la bouche (Alain Resnais, 2003)

After wrestling with the issue, I decided not to include either Brian De Palma's Femme Fatale or Orson Welles' Vérités et mensonges, since both are films in English by American directors, to say nothing of films made in Belgium (Chantal Akerman's Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, the Dardenne brothers' La Promesse and L'Enfant) and Canada (Jean-Claude Lauzon's Léolo)--or for that matter, co-productions like Max Ophüls Lola Montès (French-Austrian), Bernardo Bertolucci's The Conformist and Last Tango in Paris (French-Italian), Luis Buñuel's Cet obscur objet du désir (French-Spanish), Godard's Passion and Notre musique (French-Swiss), Krzysztof Kieslowski's La Double vie de Véronique (French-Polish) and Trois couleurs: Rouge (French-Swiss), Michael Haneke's La Pianiste (French-Austrian) and Béla Tarr's The Man From London (French-Hungarian).

[balmakboor]

I'll just toss in a few and then return to reading lists by the experts:

The 400 Blows (Truffaut)
A Man Escaped (Bresson)
Au hasard Balthazar
Au Revoir Les Enfants (1987)
Band of Outsiders (Godard)
Beauty and the Beast (Cocteau)
Diva (Beineix)
Forbidden Games (Clément)
La Jetee (Marker)
Monsieur Hulot's Holiday (Tati)
Mon Oncle (Tati)
Napoleon (Gance)
Playtime (Tati)
The River (Renoir)
San Soleil (Marker)
A Trip to the Moon (Méliès)
The Umbrellas of Cherbourg (Demy)

[Mysterious Dude]

Diabolique (Clouzot, 1955)
Damn, how did I miss this one? Looks like I'll have to excise something. Sorry, Alphaville!

I'm a little disappointed in my list because, while it includes my three absolute favorite movies, it is not comprised entirely of movies that I consider great, and I feel like I ought to have seen over forty great French films.

[Gizmo]

I'm a bit confused... are we doing movies in French? Made in France? Made by people who are French? Oh well, I'll throw stuff out there and edit if need be. Anyway, here's the chance to flaunt my Jeunet man-crush.

5x2
Amelie
Au Revoir, les Enfants
The City of Lost Children
Delicatessen
The Dreamers
F for Fake
He Loves Me, He Loves Me Not
Irreversible
La Femme Nikita
Leon - if it counts
Paris, Je T'aime
Passion of Joan of Arc
Swimming Pool
Three Colors: Blue
The Triplets of Belleville
A Very Long Engagement

[baby doll]

Providence (Resnais, 1977)Pushing it, don't ya think?

[Raiders]

Pushing it, don't ya think?

Yeah, I'll switch it with Marienbad. I think I just wanted to pick a different Resnais than I figured everyone else would, but I haven't seen that many from him.

[D_Davis]

I am looking forward to seeing the results, I think this will be a good primer for diving into some quality French cinema.

[baby doll]

I'm a little disappointed in my list because, while it includes my three absolute favorite movies, it is not comprised entirely of movies that I consider great, and I feel like I ought to have seen over forty great French films.I don't claim to be an expert on French cinema (or any national cinema, for that matter), but I found my own list to be far from exhaustive. I didn't include a single film by major figures like Catherine Breillat, Leos Carax or Philippe Garrel.

[baby doll]

Yeah, I'll switch it with Marienbad. I think I just wanted to pick a different Resnais than I figured everyone else would, but I haven't seen that many from him.Yeah, I had trouble deciding which one to pick myself. Even if I were willing to consider something as thoroughly British as Providence French by association, I've only seen it and Mon oncle d'Amerique once a piece. Hiroshima mon amour blew my mind the second time I watched it (the first, seeing it on VHS didn't do it justice), though I find it less impressive with subsequent viewings but still brilliant. And I've never completely warmed to L'Année dernière Ã* Marienbad, but I can't get it out of my head (I watched it again last week and can't wait to see it again). That just leaves Nuit et brouillard and Pas sur la bouche, and as much as I'd like to include both of them, I just didn't have room for the latter.

[baby doll]

Edited: Tirez sur le pianiste out, Pas sur la bouche in.

[baby doll]

I just realized that Isabelle Huppert only appears in two of the films on my list. That seems low.

[Spinal]

C'etait un rendez-vous

For your consideration, this has now been posted in the "Free Films on the Internet" thread.

[Ezee E]

Nothing that I'm too passionate about, but I will push for these:

Leon: The Professional
A Man Escaped
Irreversible
Amelie

[monolith94]

Isn't The Man Who Planted Trees canadian? I mean, are we counting French-language Canadian films as well?

[origami_mustache]

The Fire Within
Elevator to the Gallows
The Battle of Algiers
Hiroshima Mon Amour
The 400 Blows
Jules and Jim
Napoleon
Au Hasard Balthazar
Pickpocket
A Man Escaped
Playtime
A Trip to the Moon
Devilish Tenant
Pepe la Moko
The Passion of Joan of Arc
Beauty and the Beast
Breathless
Band of Outsiders
Week End
The Mystery of Picasso
La Grande Illusion
The Rules of the Game
Delicatessen
City of Lost Children
Diva
La Haine
Irreversible
Blue
Red
Le Jetée

[Spinal]

Isn't The Man Who Planted Trees canadian? I mean, are we counting French-language Canadian films as well?

Sometimes the answer is within the thread itself.

[baby doll]

Isn't The Man Who Planted Trees canadian? I mean, are we counting French-language Canadian films as well?I'd have less of a problem with some one calling Atom Egoyan an American director (as Roger Ebert did a few months ago), since it's not like English Canada is at all culturally distinct from the United States, but seeing as Quebec does have its own culture and history and sense of identity (it is, as they say, "a distinct nation"), to call a film made in Quebec "French" without qualification seems like the kind of over-simplification that only some one with no experience of either culture could make. When Denys Arcand's films are shown in France, they have to be dubbed into Parisian French because the French have such a hard time with the Quebecois dialect. Perhaps we should have a thread for the best Quebecois films, but apart from Jean-Claude Lauzon and Denis Villeneuve, I've yet to encounter any really interesting Quebec cinema.

[jesse]

Will probably amend later...

L'Atalante (1934, J. Vigo)
Au hazard balthazar (1966, R. Bresson)
Beau Travail (1999, C. Denis)
Breathless (A bout de soufflé) (1960, J.L. Godard)
Celine and Julie Go Boating (Céline et Julien vont en bateau) (1974, J. Rivette)
La Chinoise (1967, J.L. Godard)
Cleo from 5 to 7 (Cléo de 5 Ã* 7) (1961, A. Varda)
Contempt (Le Mépris) (1963, J.L. Godard)
Diary of a Country Priest (Journal d’un cure de campagne) (1951, R. Bresson)
The 400 Blows (Les quatres cent coups ) (1959, F. Truffaut)
Friday Night (Vendredi Soir) (2003, C. Denis)
Hiroshima mon amour (1959, A. Resnais)
Hypothesis of the Stolen Painting (1979, R. Ruiz)
India Song (1975, M. Duras)
In Praise of Love (Éloge de l’amour) (2001, J.L. Godard)
La Jetée (1962, C. Marker)
Last Year at Marienbad (L’Année dernière Ã* Marienbad) (1961, A. Resnais)
The Mother and the Whore (La Maman et la Putain) (1973, J. Eustache)
Mouchette (1967, R. Bresson)
Regular Lovers (Les Amants réguliers) (2007, P. Garrel)
Sans Soleil (1983, C. Marker)
Time Regained (Les Temps retrouvé) (1999, R. Ruiz)
The Young Girls of Rochefort (Les Demoiselles de Rochefort) (1967, J. Demy)

[Mr. Valentine]

are we counting the Three Colors trilogy?

[Llopin]

Preliminary list...

La Grande Vadrouille
Mon Oncle
Zéro de Conduite
La viee revée des anges
Nous ne vieillirons pas ensemble
Le mépris
L'année dernière Ã* Marienbad
Au Hasard Balthazar
Les Diaboliques
La Religieuse
À nous amours
La Promesse
La Souffle au Coeur
Le Boucher
Le Feu Follet
Le fantôme de la liberté
Irma Vep
La Grande Bouffe
Milou en Mai
La Salamandre
Le Corbeau
Lola
Une homme et une femme
Domicile Conjugal
Le Diner de Côns
Un coeur en hiver
La Naissance de l'amour
Le Trou
Le Bonheur
Preparez vos mouchoirs
La Jetée
Être et avoir
Sans Soleil
Le Mystère Koumiko
Dans le ville de Sylvie
Ma nuit chez maud
Conte d'été
Le Genou de Claire
La Belle Noiseuse
Un chambre en ville

Do not panic, as I will edit and translate the titles later on.

[baby doll]

are we counting the Three Colors trilogy?I don't know how we are counting them, but I consider them French, French-Polish and Swiss, respectively.

[soitgoes...]

are we counting the Three Colors trilogy?
I wouldn't see why not. They're in French predominately.

[baby doll]

I wouldn't see why not. They're in French predominately.Except White, which is mainly set in Poland with Polish actors (at least two of them Kieslowski regulars), and Red, while it's in French, is set entirely in Switzerland.

[soitgoes...]

Except White, which is mainly set in Poland with Polish actors (at least two of them Kieslowski regulars), and Red, while it's in French, is set entirely in Switzerland.
French co-productions. Swiss French is still French. The entire trilogy references the French flag. Leave out White if you'd like. It's the weakest of the three, but last time I checked Les Vampires had less spoken French than White. My understanding is that this list was to be as inclusive as possible.

[Duncan]

...since it's not like English Canada is at all culturally distinct from the United States...
Yes it is. There's actually a way bigger difference than you would think. Take it from someone who grew up in English speaking Canada, but has spent the last 4-5 years in the States. I don't think films like Cowards Bend the Knee, for example, could ever be made in the US.

[baby doll]

French co-productions. Swiss French is still French. The entire trilogy references the French flag. Leave out White if you'd like. It's the weakest of the three, but last time I checked Les Vampires had less spoken French than White. My understanding is that this list was to be as inclusive as possible.The entire trilogy referrences the French flag in any extremely ironic way so, for instance, White, which ostensibly alludes to equality, is in fact about a bitter power struggle and the effect of free markets on post-communist Poland. Part of the irony is that the trilogy isn't exclusively French, since all the films are co-productions (even Blue), and as certain critics noted at the time of the film's release, La Double vie de Veronique (Kieslowski's first film made outside Poland) is as much about the conditions of an international co-production as it is the result of them.

As for Les Vampires, it has no French dialogue in it because it's a silent film. Are you thinking of Irma Vep? Then again, I do have Assayas' demonlover on my list, in which French, English and Japanese are spoken almost interchangably and the lead actress is Danish, but since the director and presumably most of the crew are French, and it's not a co-production, I didn't see the point in being overly pedantic about it.

[baby doll]

Yes it is. There's actually a way bigger difference than you would think. Take it from someone who grew up in English speaking Canada, but has spent the last 4-5 years in the States. I don't think films like Cowards Bend the Knee, for example, could ever be made in the US.Oddly enough, Brand Upon the Brain! (which strikes me as something of a companion piece to Cowards Bend the Knee) was shot entirely in Washington state with American money.

[MacGuffin]

Twentynine Palms (Bruno Dumont, 2003)
Le mépris (Jean-Luc Godard, 1963)
Play Time (Jacques Tati, 1967)
La Belle captive (Alain Robbe-Grillet, 1983)
Céline et Julie vont en bateau (Jacques Rivette, 1974)
Le Sang d'un poète (Jean Cocteau, 1930)
Irréversible (Gaspar Noé, 2002)
Un condamné Ã* mort s'est échappé ou Le vent souffle où il veut (Robert Bresson, 1956)
Nuit et brouillard (Alain Resnais, 1955)
Code inconnu: Récit incomplet de divers voyages (Michael Haneke, 2000)

I'll give you ten films for now.

[Duncan]

Oddly enough, Brand Upon the Brain! (which strikes me as something of a companion piece to Cowards Bend the Knee) was shot entirely in Washington state with American money.

I haven't seen Brand Upon the Brain! yet. A better way for me to have made my statement probably would have been, "I don't think an American could ever have made Cowards Bend the Knee."

Anyway, there are cultural differences. I consider that a fact. Look at American resistance to socialized health care. Look at the resistance to gay marriage. Look at how Americans don't really seem to care about the wildly disproportionate amount of money spent on the military (even before the war in Iraq). Etcetera, etcetera, etcetera.

[soitgoes...]

As for Les Vampires, it has no French dialogue in it because it's a silent film. Are you thinking of Irma Vep? Then again, I do have Assayas' demonlover on my list, in which French, English and Japanese are spoken almost interchangably and the lead actress is Danish, but since the director and presumably most of the crew are French, and it's not a co-production, I didn't see the point in being overly pedantic about it.
No. I realize its silent, that's why I made the comment. I'm trying to say that being a French production is as important to a film being French as the actual French language being spoken, at least in regards to a list like this. European films are especially hard to peg to one country in terms of catagorizing countries of origin. Directors move around (like in Kieslowski's case), funding comes from multiple countries, different languages are spoken. Are we just going to include 100% French productions, with only the French language being spoken. That's leaving out a lot of films. After all French/Italian co-productions have been en vogue since the 1950s.

[origami_mustache]

Except White, which is mainly set in Poland with Polish actors (at least two of them Kieslowski regulars), and Red, while it's in French, is set entirely in Switzerland.


I didn't include White...It wouldn't qualify for my top 30 even if it did count though.

[ledfloyd]

Red
Blue
The 400 Blows
Shoot the Piano Player
Jules and Jim
Breathless
Masculin Feminin
Delicatessen
Amelie
The Children of Paradise
The Rules of the Game
Army of Shadows
Cache
Elevator to the Gallows
Au Revoir Les Enfants

that's all i can think of off hand. there are a bunch more i've seen that i don't think qualify for a "best" list (grand illusion, bob le flambleur, bande a part, day for night, contempt, etc) but i still have a long way to go on my french cinema education. rohmer and resnais are next i think.

[Melville]

I haven't seen Brand Upon the Brain! yet. A better way for me to have made my statement probably would have been, "I don't think an American could ever have made Cowards Bend the Knee."

Anyway, there are cultural differences. I consider that a fact. Look at American resistance to socialized health care. Look at the resistance to gay marriage. Look at how Americans don't really seem to care about the wildly disproportionate amount of money spent on the military (even before the war in Iraq). Etcetera, etcetera, etcetera.
Yeah, it seems odd to say that the two cultures are identical. I travel to the U.S. fairly often, and it is noticeably different from Canada. Probably the most notable thing is the preponderance of flags and, in Alabama at least, advertisements for the military. However, I'd say there is probably more variation within each of the cultures than there is between them.

[baby doll]

I haven't seen Brand Upon the Brain! yet. A better way for me to have made my statement probably would have been, "I don't think an American could ever have made Cowards Bend the Knee."

Anyway, there are cultural differences. I consider that a fact. Look at American resistance to socialized health care. Look at the resistance to gay marriage. Look at how Americans don't really seem to care about the wildly disproportionate amount of money spent on the military (even before the war in Iraq). Etcetera, etcetera, etcetera.Well, Canadians still elected Stephen Harper who's pro-military, anti-gay rights and is in favor of a more American-style healthcare system.

Could an American have made Cowards Bend the Knee? No, no one but Guy Maddin could've made the film, because he's an individual.

[baby doll]

No. I realize its silent, that's why I made the comment. I'm trying to say that being a French production is as important to a film being French as the actual French language being spoken, at least in regards to a list like this. European films are especially hard to peg to one country in terms of catagorizing countries of origin. Directors move around (like in Kieslowski's case), funding comes from multiple countries, different languages are spoken. Are we just going to include 100% French productions, with only the French language being spoken. That's leaving out a lot of films. After all French/Italian co-productions have been en vogue since the 1950s.And here's where we arrive at the pointlessness of lists by nationality. Even if we did have some surefire method of determining which films are French and which aren't (Chantal Akerman and the Dardennes are obviously Belgian, and Assayas' Irma Vep--a film explicitly about the French film industry--is mainly in English, so I don't think the language is what counts; is Zacharias Kunuk less of a Canadian director because his films aren't in English or French?), what real benefit is there to grouping together filmmakers as diverse as Robert Bresson and Luc Besson, or Jean-Pierre Melville and Jean-Pierre Jeunet? Is there some magical, unfying quality that makes thousands and thousands of films made over more century all recognizably, identifiably French? Of course not.

[Qrazy]

And here's where we arrive at the pointlessness of lists by nationality. Even if we did have some surefire method of determining which films are French and which aren't (Chantal Akerman and the Dardennes are obviously Belgian, and Assayas' Irma Vep--a film explicitly about the French film industry--is mainly in English, so I don't think the language is what counts; is Zacharias Kunuk less of a Canadian director because his films aren't in English or French?), what real benefit is there to grouping together filmmakers as diverse as Robert Bresson and Luc Besson, or Jean-Pierre Melville and Jean-Pierre Jeunet? Is there some magical, unfying quality that makes thousands and thousands of films made over more century all recognizably, identifiably French? Of course not.

Just because there are difficulties with grouping doesn't mean we shouldn't group. Is grouping chronologically as opposed to nationally really any better? Then the statement just becomes "Is there some unifying quality that makes thousands and thousands of films made over an entire year around the world similar?" These kinds of lists allow us to delve deeper into the films of a specific area, of a language and of a culture in general. I'd say the commonalities are much more prominent than the dissimilarities. We're probably going to turn up a ton of films here that aren't on the Match Cut world-wide 100.

[Mysterious Dude]

I think lists are fun.

[baby doll]

Just because there are difficulties with grouping doesn't mean we shouldn't group. Is grouping chronologically as opposed to nationally really any better? Then the statement just becomes "Is there some unifying quality that makes thousands and thousands of films made over an entire year around the world similar?" These kinds of lists allow us to delve deeper into the films of a specific area, of a language and of a culture in general. I'd say the commonalities are much more prominent than the dissimilarities. We're probably going to turn up a ton of films here that aren't on the Match Cut world-wide 100.Listing films chronologically is just as arbitrary, but at least it's wide-open. I remember taking a film history course on French women directors, and what surprised me is how unsurprising it was: the films by Agnès Varda, Claire Denis and Catherine Breillat ruled, while most everything else, while often interesting (I enjoyed Martine Dugowson's Mina Tannenbaum), wasn't up to the same level. The only real surprise for me was Sandrine Veysset's Y aura-t-il de la neige Ã* Noël?, and since I haven't been able to see Veysset's subsequent films, I can't say whether she's major talent of if it was simply a fluke. So when it comes to delving deeper into the films of a specific area, language or culture, I think delving is over-rated and it's better to just coast on the surface of things.

To use another country as an example (since it seems to me that French cinema is extraordinarily rich), if it weren't for Dreyer and Lars von Trier, would anyone give a damn about Danish cinema?

[Qrazy]

Listing films chronologically is just as arbitrary, but at least it's wide-open. I remember taking a film history course on French women directors, and what surprised me is how unsurprising it was: the films by Agnès Varda, Claire Denis and Catherine Breillat ruled, while most everything else, while often interesting (I enjoyed Martine Dugowson's Mina Tannenbaum), wasn't up to the same level. The only real surprise for me was Sandrine Veysset's Y aura-t-il de la neige Ã* Noël?, and since I haven't been able to see Veysset's subsequent films, I can't say whether she's major talent of if it was simply a fluke. So when it comes to delving deeper into the films of a specific area, language or culture, I think delving is over-rated and it's better to just coast on the surface of things.

To use another country as an example (since it seems to me that French cinema is extraordinarily rich), if it weren't for Dreyer and Lars von Trier, would anyone give a damn about Danish cinema?

But you have to see that that's because you've already delved. It seems foolish to me to make the assumption that everyone is at the same place as you are film history-wise, when they almost certainly are not. Perhaps someone will discover Denis, Varda or Breillat as a result of this type of list and therein lies it's value.

And on the flipside of that one can always delve deeper into almost anything, and you may (or may not, but there's little harm in looking) find something... an idea, a film, a piece of art... that rewards your efforts... even if you felt you didn't with the French female directors course.

For example, supposedly 1909-14 was the golden age in Danish cinema and I personally know nothing about the movies released there and at that time, but perhaps there's some gems in there. Babette's Feast may not be an earth shatteringly amazing film but just because something isn't brilliant, doesn't make it worthless. Also Vinterberg's Festen is a damn good film. There's more worth to be gained in exploration than there is in close-mindedness.

[soitgoes...]

Yeah, I'm pretty much tired of this. If you have a problem with these lists, just don't participate. Its not like any of this really matters. The lists are a fun way to see what others like, to toot the horn of your favorites, and to get ideas of what to watch. If you'd like to start your own list with your own guidelines feel free, but when someone else starts a list and sets their own guidelines, you can either participate or not. Criticizing for a page and a half of a three page thread is just annoying.

[Melville]

Well, Canadians still elected Stephen Harper who's pro-military, anti-gay rights and is in favor of a more American-style healthcare system.
The Conservatives received only 36% of the popular vote, so that hardly suggests that Canadians are generally in favor of conservative politics. And Harper is pretty central compared to Bush.

[soitgoes...]

Children of Paradise in. General Idi Amin out. Original list has been updated.

[Torgo]

Alphaville
L'Armée des Ombres
L'Atalante
Trois Couleurs: Bleu
La belle et La bête
Bob le Flambeur
Breathless
Le Cercle Rouge
Delicatessen
The 400 Blows
Jules et Jim
Mon Oncle
Playtime
Trois Couleurs: Rouge
Le Samourai

[baby doll]

The Conservatives received only 36% of the popular vote, so that hardly suggests that Canadians are generally in favor of conservative politics. And Harper is pretty central compared to Bush.I suspect if the election were held today, Harper would not only be reelected but gain a majority. If he seems tame next to Bush (who isn't?), that may simply be because he has to work with the other parties to get anything through.

[Qrazy]

I suspect if the election were held today, Harper would not only be reelected but gain a majority.

Seems kind of like idle and not really empirically justified speculation, no?

[baby doll]

Seems kind of like idle and not really empirically justified speculation, no?Considering the (obscenely stupid) attack ads on Stephane Dion, it's evident that the Conservatives are already gearing up for an election; I suspect the reason that the other parties haven't attempted to defeat the government is because they know that Harper would clean their clocks in an election.

[Qrazy]

Considering the (obscenely stupid) attack ads on Stephane Dion, it's evident that the Conservatives are already gearing up for an election; I suspect the reason that the other parties haven't attempted to defeat the government is because they know that Harper would clean their clocks in an election.

I find the largest problem with the more liberal parties on both sides of the border these days is they just can't seem to get their shit together and unify on a party platform. There's too much in squabbling nonsense and as a result they shoot themselves in the foot. It's a real shame.

[monolith94]

Delicatessen
Jules and Jim (1962)
Napoleon
The Passion of Joan of Arc
Amelie
Beauty and the Beast
Orpheus
Last Year at Marienbad
Three Colors: Blue
Shoot the Piano Player

Danton
Les Demoiselles de Rochefort
Hiroshima, Mon amour
The Blood of a Poet
Children of Paradise
The 400 Blows
The Man Who Planted Trees
City of Lost Children
The Tenant
Testament d'Orphée, Le

8 Women (Ozon)
Diva (Beineix)
The Return of Martin Guerre
Grand Illusion
A Man Escaped
Kirikou and the Sorceress
Nikita (1990)
Jean de Florette
Army of Shadows
Le Samourai

Blood of the Beasts
La Jetee
The Mascot
Au Revoir Les Enfants
The Triplets of Belleville
The Red Balloon
The Man on the Train
The Battle of Algiers
Les Noces de Papier

[Weeping_Guitar]

L'Atalante
Grand Illusion
The Rules of the Game
Rififi
Bob Le Flambeur
Elevator to the Gallows
The 400 Blows
Shoot the Piano Player
Jules & Jim
A Woman is a Woman
My Life to Live
Band of Outsiders
Umbrellas of Cherbourg
Masculin Feminin
Le Samourai
Stolen Kisses
Army of Shadows
My Night at Maud's
Bed and Board
Day For Night
Au Revoir Les Enfants
Double Life of Veronique (if it counts?)
3 Colors: Red
3 Colors: Blue
Amelie

[Spinal]

La Notte

Italian, isn't it?

[Weeping_Guitar]

Italian, isn't it?

It certainly is. Got a little too quick in my picking. Probably put Jeanne Moreau to mind and I didn't think twice.

[Qrazy]

For anyone who still hasn't, get in those last couple noms.

[soitgoes...]

Edited original post to include Les Misérables. Deleted Paris qui dort.

[DSNT]

A few:

The 400 Blows
Au Hazard Balthazar
Au Revoir Les Enfants
The Barbarian Invasions
The Battle of Algiers
La Bete Humaine
Boudu Saved From Drowning
The Discreet Charm of the Bourgoisie
L'Enfant
Grand Illusion
La Haine
Kings & Queen
The Lower Depths
The Man Who Planted Trees
The Passion of Joan of Arc
Rules of the Game
Shoot the Piano Player
The Triplets of Belleville
Wages of Fear

[baby doll]

The Barbarian Invasions
The Battle of Algiers
L'EnfantLes invasions barbares is Quebecois, The Battle of Algiers was directed by Gillo Pontecorvo who's Italian and is set entirely in North Africa, and L'Enfant is Belgian.

[Spinal]

Les invasions barbares is Quebecois, The Battle of Algiers was directed by Gillo Pontecorvo who's Italian and is set entirely in North Africa, and L'Enfant is Belgian.

http://www.match-cut.org/showpost.php?p=3211&postcount=8