1182:
1170:
44:
951:, a series of eight interlinked plays which follow the consequences of a casual choice to sixteen possible endings. Resnais slightly reduced the number of permuted endings and compressed the plays into two films, each having a common starting point, and to be seen in any order. Sabine Azéma and Pierre Arditi played all the parts, and the theatricality of the undertaking was again emphasised by the studio set designs for a fictional English village. Resnais returned to Ayckbourn in the following decade for his adaptation of
459:, 1956) was one of the first documentaries about the Nazi concentration camps, but it deals more with the memory of the camps than with their actual past existence. Realising that standard documentary techniques would be incapable of confronting the enormity of the horror (and even risked humanising it), Resnais chose to use a distancing technique by alternating historical black-and-white images of the camps with contemporary colour footage of the sites in long tracking shots. The accompanying narration (written by
444:
1194:
1096:
film he fully acknowledged. He was also known to treat the completed screenplay with great fidelity, to the extent that some of his screenwriters remarked on how closely the finished film realised their intentions. (On the few occasions when he did participate in writing the script, particularly for his last three films, his contribution is acknowledged under the pseudonym Alex Reval, since he did not want his name to appear more than once in the credits.)
3856:. Retrieved 7 July 2021. "Spiritualizing currents coursed through the Latin Quarter world Resnais frequented in the immediate postwar years. He himself had given up on organized religion, but that didn't mean he remained unmarked by the Catholic world he had grown up in. He described himself as a "mystical atheist", the kind of nonbeliever who was spellbound on hearing by chance the radio broadcast of a sermon delivered in accompaniment to morning Mass."
843:, 1983), a comic fantasy about utopian dreams in which three stories, from different eras and told in different styles, are interwoven within a shared setting. The action is punctuated by episodes of song which develop towards the end into scenes that are almost operatic; Resnais said that his starting point had been the desire to make a film in which dialogue and song would alternate.
618:, the film attracted great attention and provoked many divergent interpretations of how it should be understood, encouraged by interviews in which Robbe-Grillet and Resnais themselves appeared to give conflicting explanations of the film. There was little doubt however that it represented a significant challenge to the traditional concept of narrative construction in cinema.
4116:
1104:
the norm in filmmaking at the time: having made his early films when escapist cinema was predominant, he progressively felt the need to move away from exploration of social and political issues as that itself became almost the norm in contemporary cinema. Experimentation with narrative forms and genre conventions instead became a central focus of his films.
1108:
fails to communicate itself to audiences. Elsewhere however it is suggested that such views are partly based on a misreading of the films, especially his earlier ones, which has impeded an appreciation of the humour and irony which pervade his work; and other viewers have been able to make the connection between the film's form and its human dimension.
929:'s 1929 play of the same name. Resnais remained entirely faithful to the play (apart from shortening it) and he emphasised its theatricality by filming in long takes on large sets of evidently artificial design, as well as by marking off the acts of the play with the fall of a curtain. After an excursion into the world of comic books and cartoons in
3678:. (London: Secker & Warburg, 1978.) p.5: "... Resnais has little grasp of character or subject; he's an innovator who hasn't got a use for innovations. ... What he doesn't seem able to do is to imbue his situations with enough feeling for these tricks to mean something to us â they're just beautiful diddles".
1103:
Another view of the evolution of
Resnais's career saw him moving progressively away from a realistic treatment of 'big' subjects and overtly political themes towards films that are increasingly personal and playful. Resnais himself offered an explanation of this shift in terms of challenging what was
1099:
Time and memory have regularly been identified as two of the principal themes of
Resnais's work, at least in his earlier films. He however consistently tried to modify this view of his concerns: "I prefer to speak of the imaginary, or of consciousness. What interests me in the mind is that faculty we
1111:
There is general agreement about
Resnais's attachment to formalism in his approach to film; he himself regarded it as the starting point of his work, and usually had an idea of a form, or method of construction, in his head even before the plot or the characters took shape. For him this was also the
1046:
in the late 1950s, but by then he had already established a significant reputation through his ten years of work on documentary short films. He defined his own relationship by saying: "Although I was not fully part of the New Wave because of my age, there was some mutual sympathy and respect between
803:
about animal behaviour are juxtaposed with three interwoven fictional stories; and a further counterpoint to the fictional characters is provided by the inclusion of film extracts of the classic French film actors with whom they identify. The film won several international awards including the Grand
574:
Hiroshima; one could only speak about the impossibility of speaking about
Hiroshima. In the film, the themes of memory and forgetting are explored via new narrative techniques which balance images with narrated text and ignore conventional notions of plot and story development. The film was shown at
1107:
A frequent criticism of
Resnais's films among English-language commentators has been that they are emotionally cold; that they are all about technique without grasp of character or subject, that his understanding of beauty is compromised by a lack of sensuousness, and that his seriousness of intent
319:
in
Brittany, where his father was a pharmacist. An only child, he was often ill with asthma in childhood, which led to his being withdrawn from school and educated at home. He was an eager reader, in a range that extended from classics to comic books, but from the age of 10 he became fascinated by
1095:
The importance of creative collaboration in
Resnais's films has been noted by many commentators. Unlike many of his contemporaries, he always refused to write his own screenplays and attached great importance to the contribution of his chosen writer, whose status in the shared "authorship" of the
366:
Resnais left in 1945 to do his military service which took him to
Germany and Austria with the occupying French forces, as well as making him a temporary member of a travelling theatre company, Les Arlequins. He returned to Paris in 1946 to start his career as a film editor, but also began making
565:
and Argos Films) to make a documentary about the atomic bomb, but
Resnais initially declined, thinking that it would be too similar to the earlier film about the concentration camps and that it presented the same problem of how to film incomprehensible suffering. However, in discussion with the
966:
Speaking in 1986, Resnais said that he did not make a separation between cinema and theatre and refused to make enemies of them. He preferred working with "people of the theatre", and he said that he would never want to film a novel. It was therefore something of a departure when he chose
610:. The fragmented and shifting narrative presents three principal characters, a woman and two men, in the opulent setting of a grand European hotel or chĂąteau where the possibility of a previous encounter a year ago is repeatedly asserted and questioned and contradicted. After winning the
812:
From the 1980s onwards
Resnais showed a particular interest in integrating material from other forms of popular culture into his films, drawing especially on music and the theatre. In almost all of his remaining films he chose to work repeatedly with a core group of actors comprising
789:. The story shows an ageing, maybe dying, novelist grappling with alternative versions of his own past as he adapts them for his fiction. Resnais was eager that the dark subject should remain humorous, and he described it as "a macabre divertissement". Formal innovation characterised
660:
Spain, but when it was entered for the official competition at the Cannes Film Festival in 1966, an objection from the Spanish government caused it to be withdrawn and it was shown out of competition. In 1967 Resnais participated with six other directors, including Chris Marker and
867:
to compose musical episodes which would act as a "fifth character", not an accompaniment but a fully integrated element of the drama with which the speech of the actors would interact. In subsequent years, Resnais gave his attention to music of more popular styles. He made
1047:
myself and Rivette, Bazin, Demy, Truffaut ... So I felt friendly with that team." He nevertheless acknowledged his debt to the New Wave because it created the conditions of production, and particularly the financial conditions, which allowed him to make a film like
268:
In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by
890:, the characters express their key emotions or private thoughts by bursting into snatches of well-known (recorded) popular songs without interrupting the dramatic situation. A long-neglected operetta from the 1920s was the unexpected basis for Resnais's next film
463:, himself a survivor of the camps) was intentionally understated to add to the distancing effect. Although the film encountered censorship problems with the French government, its impact was immense and it remains one of the director's most admired works.
1002:, and it assembled thirteen actors (many of them regular performers in Resnais's earlier films) who have been summoned by the dying wish of an author to witness a new performance their roles in one of his plays. The film was shown in competition for the
739:, a volume of his photographs, taken between 1948 and 1971, of locations in London, Scotland, Paris, Nevers, Lyon, New York and Hiroshima; Jorge Semprun wrote the introductory text. Some of the photographs relate to his unfulfilled Harry Dickson film.
490:
In his decade of making documentary short films, Resnais established his interest in and talent for collaboration with leading figures in other branches of the arts: with the painters who were the subjects of his early works; with writers (Eluard in
245:" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers previously unconnected with the cinema such as
407:
received a prize at the Venice Biennale in 1948, and also won an Oscar for Best 2-reel Short in 1949. (Braunberger went on to act as producer for several of Resnais's films in the following decade.) Resnais continued to address artistic subjects in
629:, which protested against French military policy in Algeria, was signed by a group of leading intellectuals and artists who included Resnais. The war, and the difficulty of coming to terms with its horrors, was a central theme of his next film
3717:. (London: Secker & Warburg, 1978.) pp.3â4; p.9: "... Resnais's films are tempered with a concern for human character and feelings which never loses sight of the vital connection between the forms of the art and its human subjects".
3298:. (Paris: Cahiers du CinĂ©ma, 2006). p.198: "Ce qui m'intĂ©resse c'est de travailler non-avec des Ă©crivains mais avec des gens de thĂ©Ăątre ... . C'est pourquoi cela ne m'a gĂȘnĂ© de tourner une piĂšce, mais je pourrais pas tourner un roman."
685:(1968) drew upon the traditions of science-fiction for a story of a man sent back into his past, a theme which enabled Resnais again to present a narrative of fragmented time. Alain Resnais's scriptwriter on this film was the author
200:; 3 June 1922 – 1 March 2014) was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct short films including
1082:. At the same time, Resnais was also a devotee of popular culture. He owned the largest private collection of comic books in France and in 1962 became the vice president and co-founder of an International Society for Comic Books,
1127:. Resnais himself traced a link to his teenage discovery of surrealism in the works of André Breton: "I hope that I always remain faithful to André Breton who refused to suppose that imaginary life was not a part of real life".
963:(2006). Among the stage/film effects which contribute to its mood of "cheerful desolation" is the artificial snow which is continually seen through set windows until eventually it falls on the studio interior as well.
3102:: anthologie Ă©tablie par StĂ©phane Goudet. (Paris: Gallimard, 2002.) p.246: "... j'espĂšre que ce film est drĂŽle car je le vois comme un divertissement, macabre certes et noir, mais un divertissement tout de mĂȘme."
900:, 2003), in which he sought to reinvigorate an unfashionable form of entertainment by recreating its theatricality for the camera and entrusting most of its musical numbers to actors rather than to trained singers.
3747:: anthologie établie par Stéphane Goudet. (Paris: Gallimard, 2002.) p.241: "Il ne peut y avoir de communication qu'à travers la forme. S'il n'y a pas de forme, on ne peut pas créer d'émotion chez le spectateur".
678:
From 1968 onwards, Resnais's films no longer addressed, at least directly, big political issues in the way that a number of his previous ones had done, and his next project seemed to mark a change of direction.
1022:, in which three couples are thrown into confusion by the news that a shared friend has a terminal illness. Three weeks before Resnais's death, the film received its premiere in the competition section of the
476:
were explored in another compendium of long travelling shots. In 1958 Resnais undertook a commission from the Pechiney company to make short film, in colour and wide-screen, extolling the merits of plastics,
1100:
have to imagine what is going to happen in our heads, or to remember what has happened". He also described his films as an attempt, however imperfect, to approach the complexity of thought and its mechanism.
392:
After beginning with a series of short documentary films showing artists at work in their studios, as well as a few commercial commissions, Resnais was invited in 1948 to make a film about the paintings of
689:. The film was unlucky in its release (its planned screening at Cannes was cancelled amid the political events of May 1968), and it was almost five years before Resnais was able to direct another film.
1026:
in February 2014, where it won a Silver Bear award "for a feature film that opens new perspectives". At the time of his death, Resnais was preparing a further Ayckbourn project, based on the 2013 play
847:
3888:
872:(1992), an innovative TV documentary in which the American composer's life and works were reviewed through the testimonies of performers and filmmakers, juxtaposed with commissioned paintings by
3691:, vol.17, no.2, (Winter 1963â1964) p.27: "Resnais knows all about beauty. But, unlike Bresson and Godard and Truffaut, he lacks sensuousness. And this, in a film-maker, is a fatal deficiency".
233:(1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the
2970:
3704:. (London: Little, Brown, 2002.) p.729: "Resnais's seriousness is more elevated than his use of film ... he has shown himself unable to make a communicative contact with audiences".
723:
attached for the score. Resnais and Dauman worked towards the project for a decade before finally giving up. The screenplay for the film by Frédéric de Towarnicki was published in 2007.
1076:(with all of whom he collaborated in the earlier part of his career). They were distinguished by their interests in documentary, left-wing politics, and the literary experiments of the
7059:
764:
in the title role, it was seen as Resnais's most commercial film to date, but its complex narrative structure showed clear links with the formal preoccupations of his earlier films.
635:(1963), which used a fractured narrative to explore the mental states of its characters. It was among the first French films to comment, even indirectly, on the Algerian experience.
284:
His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives.
4939:
3802:. (Paris: Ramsay, 2008.) p.143, p.39: "J'espÚre toujours demeurer fidÚle à André Breton qui se refusait de considérer que la vie imaginaire ne fait pas partie de la réelle".
6105:
2581:
International Dictionary of Films and Filmmakers â 2: Directors; 4th ed., edited by Tom Prendergast and Sara Prendergast. (New York, London: St James Press, 2000.) p.816.
756:(1974), based on the life of the notorious financier and embezzler whose death in 1934 provoked a political scandal. With glamorous costumes and sets, a musical score by
4495:
981:, 2009). He explained however that what initially attracted him to the book was the quality of its dialogue, which he retained largely unchanged for the film. When
985:
was shown at the Cannes Film Festival, it was the occasion for a special jury award to Resnais "for his work and exceptional contribution to the history of cinema".
3394:
7054:
2884:"Impossible de parler de HIROSHIMA. Tout ce qu'on peut faire c'est de parler de l'impossibilité de parler de HIROSHIMA." Marguerite Duras, in the published script
1112:
basis for the communication of feeling: "There cannot be any communication except through form. If there is no form, you cannot create emotion in the spectator."
6327:
4158:
320:
films. For his twelfth birthday his parents gave him a Kodak 8mm camera with which he began to make his own short films, including a three-minute version of
3311:
3882:
3469:
2734:
International Dictionary of Films and Filmmakers â 2: Directors; 2nd ed., edited by Nicholas Thomas. (Chicago, London: St James Press, 1991.) pp.689â692.
3906:
4932:
2228:
2051:
356:
3635:. (Paris: Larousse, 2005.) p.501: "Mes films sont une tentative, encore trÚs imparfaite, d'approcher de la complexité de la pensée, de son mécanisme".
7049:
6098:
1181:
2198:
2150:
2114:
520:
6974:
2965:
6999:
4488:
4925:
6969:
3268:, 8 April 2007: "As Mr. Resnais told a French interviewer, the effect he is after is one of 'désolation allÚgre,' a blithe, jaunty despair."
1115:
Another term which appears in commentaries on Resnais throughout his career is "surrealism", from his documentary portrait of a library in
6091:
6320:
6979:
5485:
3529:
1193:
6994:
6589:
3948:
3923:
3424:
4481:
4148:
7029:
994:
3448:
7014:
4364:
4197:
1805:
1324:
1316:
1305:
1023:
6313:
337:
Visits to the theatre in Paris gave Resnais the desire to be an actor, and in 1939 he moved to Paris to become an assistant in
6693:
4348:
4100:
4085:
4070:
4055:
4027:
3991:
3214:
2599:
1756:
959:
6989:
6984:
4948:
1139:). She was a regular member of his production team, working as assistant director on most of his films from 1961 to 1986.
1169:
656:, himself an ex-member of the Spanish Communist Party now in voluntary exile in France. Both men denied that the film was
3402:
6114:
1271:
863:, 1984). For this intense chamber work with four principal actors (Azéma, Arditi, Ardant and Dussollier), Resnais asked
473:
7034:
1301:
397:, to coincide with an exhibition that was being mounted in Paris. He filmed it at first in 16mm, but when the producer
3853:
3053:
1341:
3843:
7009:
4504:
3319:
1241:
3354:
5478:
1084:
7019:
3770:
3027:
2763:
953:
6918:
4138:
7039:
6582:
4310:
3901:
3812:
1653:
931:
804:
Prix at the Cannes Film Festival, and it also proved to be one of Resnais's most successful with the public.
919:), but he first undertook the challenge of taking a complete stage work and giving it new cinematic life in
7024:
4407:
2303:
1147:
422:
painting based on the 1937 bombing of the town, and presented it to the accompaniment of a text written by
241:), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "
4431:
2373:
468:
7044:
4246:
4190:
1462:
644:
287:
Throughout his career, he won many awards from international film festivals and academies, including one
6819:
6427:
5064:
4254:
3784:
3141:
1487:
681:
342:
5471:
791:
4423:
4372:
2348:
1829:
1543:
1349:
1338:
1146:, who acted in the majority of his films from 1983 onwards; they were married in the English town of
1012:
1007:
774:
455:
202:
731:
Resnais spent some time in America working on various unfulfilled projects, including one about the
7004:
6575:
570:
a fusion of fiction and documentary was developed which acknowledged the impossibility of speaking
207:
5649:
1056:
Resnais was more often associated with a "Left Bank" group of writers and filmmakers who included
6787:
213:
Resnais began making feature films in the late 1950s and consolidated his early reputation with
17:
4786:
4163:
2805:
1038:
Resnais was often linked with the group of French filmmakers who made their breakthrough as the
6859:
6851:
5144:
5052:
4286:
4270:
4230:
4183:
1582:
1532:
1414:
839:
769:
602:
223:
4439:
2414:
479:
6362:
5625:
4542:
3865:
3194:
1157:
720:
351:
95:
6450:
5106:
4670:
3533:
1016:(2014) was the third film which Resnais adapted from a play by Alan Ayckbourn, in this case
6964:
6959:
6797:
6736:
6645:
6462:
6239:
5748:
5598:
5112:
5096:
5074:
4834:
4399:
4391:
4022:; with translations by T. Jefferson Kline. Jackson: University Press of Mississippi, 2021.
2283:
2139:
1334:
1280:
1018:
626:
615:
576:
414:
403:
304:
242:
6912:
6635:
6203:
5856:
4558:
855:
8:
6843:
6678:
6490:
6474:
6233:
6197:
5441:
5002:
4810:
4778:
4754:
4638:
4622:
4566:
4222:
3046:
Les Aventures de Harry Dickson: scénario ... pour un film (non réalisé) par Alain Resnais
2249:
2245:
2241:
2237:
2233:
2072:
2068:
2064:
2060:
2056:
1426:
1388:
1092:. CELEG members also included Resnais's artistic collaborators Marker and Robbe-Grillet.
1073:
607:
552:
254:
216:
6875:
5631:
5210:
3261:
3251:: anthologie Ă©tablie par StĂ©phane Goudet. (Paris: Gallimard, 2002.) pp.405â406, 409â410.
1629:
921:
822:
692:
Throughout the 1960s, Resnais was attached to direct an international production called
440:, 1953), a polemic about the destruction of African art by French cultural colonialism.
6751:
6468:
6379:
6179:
6023:
5885:
5736:
5718:
5562:
5367:
5361:
5351:
5297:
5283:
5273:
5162:
5092:
4917:
4730:
4690:
4518:
4324:
2631:; edited by Ginette Vincendeau. (London: Cassell, British Film Institute, 1995.) p.358.
1675:
1254:
947:
937:
761:
398:
296:
6161:
6131:
5826:
5397:
4706:
3369:
1135:
In 1969 Resnais married Florence Malraux (daughter of the French statesman and writer
338:
6701:
6245:
6125:
6071:
6005:
5915:
5643:
5619:
5592:
5427:
5371:
5355:
5166:
5126:
4842:
4278:
4133:
4096:
4081:
4066:
4051:
4023:
3987:
3849:
3498:
3049:
2595:
2446:
2207:
2203:
2159:
2155:
2123:
2119:
1767:
1721:
1686:
1554:
1498:
864:
846:
700:
686:
426:. A political perspective on art also underpinned his next project (co-directed with
262:
5963:
5730:
5712:
5568:
5494:
5204:
368:
360:
6937:
6901:
6772:
6658:
6525:
6083:
5933:
5850:
5796:
5778:
5447:
5421:
5391:
5387:
5345:
5333:
5196:
5138:
5058:
5046:
5042:
4992:
4447:
4415:
4121:
2514:
2435:
2322:
1402:
1069:
757:
712:
671:
567:
533:
436:
394:
250:
43:
6167:
6047:
5538:
4175:
3468:
Marie-Noëlle Tranchant. "Alain Resnais, prodige du cinéma français, est mort", in
3069:
1521:
1476:
1136:
716:
653:
258:
6929:
6630:
6620:
6598:
6537:
6502:
6409:
6350:
6263:
6227:
6209:
6185:
6035:
5981:
5939:
5862:
5844:
5820:
5808:
5802:
5694:
5688:
5682:
5637:
5532:
5417:
5214:
5178:
5170:
5120:
5102:
5070:
5022:
5018:
4988:
4882:
4866:
4858:
4794:
4770:
4762:
4686:
4340:
4294:
3910:
3218:
3209:
2974:
2767:
2421:
1732:
1641:
1606:
1039:
988:
In his final two films, Resnais again drew his source material from the theatre.
926:
896:
747:
732:
662:
649:
590:
484:
274:
234:
196:
6305:
5544:
4978:
4473:
1143:
814:
331:
292:
166:
6792:
6782:
6746:
6721:
6615:
6543:
6496:
6486:
6421:
6397:
6391:
6356:
6293:
6269:
6257:
6251:
6215:
6191:
6059:
6053:
6041:
5993:
5987:
5957:
5838:
5814:
5790:
5520:
5508:
5437:
5381:
5339:
5293:
5244:
5200:
5134:
5130:
5086:
5030:
5026:
4982:
4874:
4826:
4818:
4802:
4738:
4714:
4630:
4606:
4598:
4550:
3532:. University of Pennsylvania Research and Scholarship Frontiers. Archived from
1841:
1771:
1694:
1224:
1214:
942:
830:
704:
562:
504:
270:
6777:
6683:
6625:
6155:
5897:
5891:
5754:
5655:
5261:
5006:
4962:
4302:
1744:
1717:
1690:
1237:
1057:
528:
472:(1956), in which the seemingly endless spaces and bibliographic riches of the
423:
6953:
6867:
6835:
6827:
6716:
6508:
6480:
6433:
6065:
6017:
5999:
5975:
5784:
5766:
5706:
5700:
5673:
5661:
5607:
5580:
5550:
5431:
5411:
5401:
5321:
5287:
5232:
5224:
5192:
5182:
5116:
4906:
4678:
4654:
4646:
4574:
4332:
4238:
3756:""Resnais grasped the surreal futility of archives ...": David Thomson,
3190:
1706:
1664:
1569:
1438:
1217:) for "Van Gogh" (1948): Best Short Subject (two-reel), awarded to producers
1210:
1078:
1003:
887:
882:
873:
818:
800:
786:
773:(1977), Resnais made his first film in English, with a screenplay written by
695:
631:
585:
419:
288:
229:
346:
6711:
6706:
6668:
6663:
6549:
6531:
6456:
6385:
6287:
6011:
5927:
5903:
5772:
5724:
5574:
5526:
5315:
5228:
5186:
5034:
5014:
4996:
4968:
4898:
4850:
4746:
4722:
4582:
4526:
4460:
2399:
2379:
2334:
2269:
2194:
2146:
2110:
2047:
1882:
1817:
1618:
1594:
1565:
1218:
1061:
999:
945:
for many years, chose to adapt what appeared the most intractable of them,
826:
782:
778:
708:
622:
512:
443:
427:
278:
3285:: anthologie établie par Stéphane Goudet. (Paris: Gallimard, 2002.) p.335.
3180:: anthologie établie par Stéphane Goudet. (Paris: Gallimard, 2002.) p.305.
903:
There are many references to the theatre throughout Resnais's filmmaking (
363:
was one of the teachers who had the most influence on him at that period.
6756:
6741:
6731:
6726:
6653:
6336:
6143:
5909:
5832:
5760:
5742:
5667:
5556:
5303:
5277:
5238:
5218:
5158:
5080:
5010:
4614:
4590:
3111:
David Robinson, "Resnais's imaginative parallels of human behaviour", in
2359:
2289:
1450:
1308:
1292:
1284:
1065:
611:
460:
300:
246:
6883:
3570:; edited by Michael Temple and Michael Witt. (London: BFI, 2004.) p.205.
3518:; edited by Michael Temple and Michael Witt. (London: BFI, 2004.) p.183.
3001:
2804:
Uri Klein. "Memories of Alain Resnais, cinema's explorer of memory", in
935:(1989), an ambitious theatrical adaptation followed with the diptych of
648:, 1966), this time the clandestine activities of left-wing opponents of
541:). Similar collaborations underpinned his future work in feature films.
355:), but he then decided in 1943 to apply to the newly formed film school
322:
6802:
6403:
6281:
6149:
6137:
5951:
5945:
5879:
5514:
5451:
5377:
5309:
5038:
4890:
4698:
4356:
4129:
1784:
977:
589:), and its success became associated with the emerging movement of the
367:
short films of his own. Finding himself to be a neighbour of the actor
327:
6275:
6221:
6029:
5921:
5267:
5152:
5148:
4974:
652:
in Spain. Resnais's scriptwriter on this film was the Spanish author
2760:
1156:
Resnais died in Neuilly-sur-Seine on 1 March 2014; he was buried in
621:
At the beginning of the 1960s France remained deeply divided by the
349:(and one of his small jobs at this time was as an extra in the film
6923:
5969:
5327:
4262:
2917:, ed. by Geoffrey Nowell-Smith. (Oxford: Oxford U.P., 1996.) p.577.
2795:, ed. by Geoffrey Nowell-Smith. (Oxford: Oxford U.P., 1996.) p.332.
1509:
752:
6567:
3769:
Marienbad's "distilled surrealist poetry": Jonathan Rosenbaum, in
3072:
in the online BibliothÚque du film of the CinémathÚque Française .
2592:
Less Than Nothing: Hegel and the Shadow of Dialectical Materialism
5463:
5407:
3066:
Repérages: photographies de Alain Resnais; texte de Jorge Semprun
3783:"Wild Grass, an authentic surrealist romance": Gilbert Adair in
3172:
Interview with Resnais (by Alain Masson and François Thomas) in
1153:
On his religious views, he called himself a "mystical atheist".
6906:
1090:
Centre d'Ătudes des LittĂ©ratures d'Expression Graphique (CELEG)
316:
295:
for best director (he was nominated on eight occasions), three
67:
638:
A contemporary political issue also formed the background for
5613:
750:, Resnais made a second collaboration with Jorge Semprun for
2501:
Contribution called "Pour Esteban Gonzalez Gonzalez, Cuba".
557:(1959). It originated as a commission from the producers of
281:, as well as films featuring various kinds of popular song.
3881:"Alain Resnais, prodige du cinéma français, est mort", in
606:, 1961), which he made in collaboration with the novelist
487:
who wrote the narration for the film in rhyming couplets.
401:
saw the results, Resnais was asked to remake it in 35mm.
4034:
Alain Resnais : liaisons secrĂštes, accords vagabonds
3999:
The Stream of Consciousness in the Films of Alain Resnais
3070:
article by Suzanne Liandrat-Guigues et Jean-Louis Leutrat
3068:. (Paris: ChĂȘne, 1974.) For a study of the book, see the
371:, he persuaded him to appear in a 16mm surrealist short,
4947:
4167:
3845:
After the Deportation â Memory Battles in Postwar France
3596:. Paris: Paris: Ăditions de La MartiniĂšre, 2013. p. 242.
3344:. Paris: Paris: Ăditions de La MartiniĂšre, 2013. p. 234.
833:. The first four of these were among the large cast of
527:); and with other filmmakers (Resnais was the editor of
466:
A different kind of collective memory was considered in
3530:"Interview with Film Expert Karen Beckman on Animation"
853:
Music, very differently used, was a major component of
3306:
3304:
2845:
See the "Tableau des connivences" in Robert Benayoun,
719:
attached as the production designer, and the composer
4032:
Liandrat-Guigues, Suzanne, & Jean-Louis Leutrat.
1199:
Resnais's tomb at Montparnasse cemetery (division 4).
707:
as producer. The project was intended to star either
7060:
Institut des hautes études cinématographiques alumni
6113:
4111:
2888:, (Paris: Gallimard, 1960.); quoted by Emma Wilson,
2339:
30 mins. Co-written and directed with Chris Marker.
799:, 1980) in which the theories of the neurobiologist
4205:
3728:
Alain Resnais: liaisons secrĂštes, accords vagabonds
3726:Suzanne Liandrat-Guigues & Jean-Louis Leutrat,
3618:Resnais quoted in, and translated by, Emma Wilson,
3301:
3296:
Alain Resnais: liaisons secrĂštes, accords vagabonds
3294:Suzanne Liandrat-Guigues & Jean-Louis Leutrat,
2723:
Alain Resnais: liaisons secrĂštes, accords vagabonds
2721:Suzanne Liandrat-Guigues & Jean-Louis Leutrat,
2694:
Alain Resnais: liaisons secrĂštes, accords vagabonds
2692:Suzanne Liandrat-Guigues & Jean-Louis Leutrat,
483:. Poetry was brought to the project, literally, by
3449:"Prizes of the International Jury. Berlinale 2014"
3362:
375:(now lost). A more ambitious feature-length work,
6335:
4503:
4095:. Manchester: Manchester University Press, 2006.
3017:, Claude Beylie. (Paris: Larousse, 2005.) p.211.
2941:Le CinĂ©ma des Français: la V RĂ©publique 1958â1978
2616:, Claude Beylie. (Paris: Larousse, 2005.) p.501.
1876:
6951:
2393:
2321:
2222:
1796:Alex Reval, Laurent Herbiet, (Christian Gailly)
971:, a novel by Christian Gailly, as the basis for
7055:Golden Lion for Lifetime Achievement recipients
3648:. (Paris: Lettres Modernes, 1999.) p.114, p.200
3277:Interview with Resnais (by François Thomas) in
3243:Interview with Resnais (by François Thomas) in
3094:Interview with Resnais (by Robert Benayoun) in
2755:
2753:
2696:. (Paris: Cahiers du CinĂ©ma, 2006). pp.176â177.
2041:
1783:
1461:
2905:. (London: Secker & Warburg, 1985.) p.184.
2413:
2025:
1605:
1413:
1187:Azéma and Resnais at the 2012 Cannes Festival.
665:, in a collective work about the Vietnam war,
6583:
6321:
6099:
5479:
4933:
4489:
4191:
3941:
3916:
3848:. (Cambridge University Press, 2020). p. 92.
3661:. (Manchester: Manchester U.P., 2006.) p.196.
3609:. (London: Secker & Warburg, 1978.) p.11.
3443:
3441:
3395:"Cannes Film Festival 2012 line-up announced"
3163:. (Manchester: Manchester U.P., 2006.) p.157.
2875:. (London: Secker & Warburg, 1978.) p.34.
2712:. (London: Secker & Warburg, 1978.) p.17.
2657:. (London: Secker & Warburg, 1978.) p.15.
2553:. (London: Macmillan, 1980.) p. 966â967.
2088:
941:(1993). Resnais, having admired the plays of
345:. From 1940 to 1942 he studied acting in the
330:and through that an interest in the works of
206:(1956), an influential documentary about the
4465:
4008:. Paris: Ăditions de La MartiniĂšre, 2013. .
3487:. (Malakoff: Armand Colin, 2016) pp.483â490.
3159:, 347 (1983) p.28; quoted by Emma Wilson in
2892:. (Manchester: Manchester U.P., 2006.) p.48.
2862:. (Manchester: Manchester U.P., 2006.) p.48.
2759:Academy of Motion Picture Arts and Sciences
2750:
1581:
1470:
1436:
1395:
1386:
1048:
886:, 1997), his tribute to television works of
550:
214:
4063:Alain Resnais: les coulisses de la création
3674:, 31 January 1977; quoted by James Monaco,
3622:. (Manchester: Manchester U.P., 2006.) p.1.
3583:. (Paris: Ramsay, 2008.) pp.186â187, p.223.
3502:, October 1966; quoted in Robert Benayoun,
3485:Alain Resnais: les coulisses de la création
3085:. (Paris: Ramsay, 2008.) p.143, pp.150â151.
2704:
2702:
2644:. (Manchester: Manchester U.P., 2006.) p.2.
2609:
2607:
2476:
1356:
6590:
6576:
6328:
6314:
6106:
6092:
5486:
5472:
4940:
4926:
4496:
4482:
4198:
4184:
3730:. (Paris: Cahiers du Cinéma, 2006). p.136.
3438:
2930:. (Paris: Ramsay, 2008). p.84, p.88, p.85.
2725:. (Paris: Cahiers du Cinéma, 2006). p.180.
42:
4078:Trente ans avec Alain Resnais: entretiens
3800:Alain Resnais: arpenteur de l'imagination
3581:Alain Resnais: arpenteur de l'imagination
3504:Alain Resnais: arpenteur de l'imagination
3262:"Restless Innovations from Alain Resnais"
3232:Alain Resnais: arpenteur de l'imagination
3126:Alain Resnais: arpenteur de l'imagination
3083:Alain Resnais: arpenteur de l'imagination
2990:. (Paris: Lettres Modernes, 1999.) p.114.
2967:The 60s: The Festival and the Film Market
2928:Alain Resnais: arpenteur de l'imagination
2847:Alain Resnais: arpenteur de l'imagination
2834:Alain Resnais: arpenteur de l'imagination
2781:Alain Resnais: arpenteur de l'imagination
2745:Alain Resnais: arpenteur de l'imagination
2681:Alain Resnais: arpenteur de l'imagination
2668:Alain Resnais: arpenteur de l'imagination
2577:
2575:
2312:One of seven segments in US documentary.
387:
7050:Venice Best Director Silver Lion winners
3984:Alain Resnais: arpenteur de l'imaginaire
3670:Pauline Kael, "Werewolf, mon amour", in
3136:
3134:
2955:(London), 1 September 1966, p.11, col.F.
2699:
2624:
2622:
2604:
2567:The Explosion of World Cinema in the 60s
845:
442:
4080:. : Les Impressions Nouvelles, 2022. .
3760:. (London: Little, Brown, 2002.) p.729.
3758:The New Biographical Dictionary of Film
3702:The New Biographical Dictionary of Film
3387:
3281:, no.307, septembre 1993; reprinted in
2786:
2561:
2559:
1119:, through the dreamlike innovations of
1024:64th Berlin International Film Festival
746:(1973), a collective film organised by
14:
6952:
4041:Alain Resnais: the RĂŽle of Imagination
3900:"Les deux adieux Ă Alain Resnais", in
3842:Philip Nord, "Heroes and Martyrs", in
3715:Alain Resnais: the RĂŽle of Imagination
3676:Alain Resnais: the RĂŽle of Imagination
3607:Alain Resnais: the RĂŽle of Imagination
2873:Alain Resnais: the RĂŽle of Imagination
2710:Alain Resnais: the RĂŽle of Imagination
2655:Alain Resnais: the RĂŽle of Imagination
2572:
2545:
2543:
2541:
2539:
2011:Journée naturelle (Visite à Max Ernst)
998:, 2012) was adapted from two plays by
326:. Around the age of 14, he discovered
7000:European Film Awards winners (people)
6571:
6309:
6087:
5467:
4921:
4477:
4464:
4179:
4043:. London: Secker & Warburg, 1978.
4001:. New York: McGruer Publishing, 1997.
3176:, no.284, octobre 1984; reprinted in
3131:
3098:, no.190, février 1977; reprinted in
2619:
2079:Director credited as Alzin Rezarail.
359:to study film editing. The filmmaker
195:
6975:Best Director LumiĂšres Award winners
4949:Golden Lion for Lifetime Achievement
3739:Interview (with Robert Benayoun) in
3527:
3234:. (Paris: Ramsay, 2008.) pp.206â207.
2584:
2556:
537:, and co-directed with Chris Marker
6597:
4169:Sonuma: les archives audiovisuelles
4065:. Malakoff: Armand Colin, 2016. .
4036:. Paris: Cahiers du Cinéma, 2006. .
2943:. (Paris: Stock, 1979.) pp.161â162.
2551:The International Film Encyclopedia
2536:
1850:
1327:Silver Bear Alfred Bauer Prize for
957:to which he gave the film title of
379:, has also vanished without trace.
24:
5493:
3969:
3743:, no.190, février 1977; quoted in
3247:, no.394, déc. 1993; reprinted in
2915:The Oxford History of World Cinema
2836:. (Paris: Ramsay, 2008). pp.57â59.
2793:The Oxford History of World Cinema
2783:. (Paris: Ramsay, 2008). pp.45â48.
2670:. (Paris: Ramsay, 2008). pp.22â25.
1123:, to the latterday playfulness of
25:
7071:
6970:Best Director CĂ©sar Award winners
4164:"Alain Resnais sur la cĂŽte belge"
4149:Analysis of several Resnais films
4107:
3833:. (London: Europa, 2004.) p.1401.
3558:. (Paris: Larousse, 2005.) p.501.
3425:"Berlinale programme description"
3353:Festival de Cannes press kit for
742:After contributing an episode to
549:Resnais's first feature film was
156: 1969, divorced)
6995:Directors of Golden Lion winners
6115:LumiĂšres Award for Best Director
4451:("Claude Ridder" segment) (1967)
4114:
3312:"Festival de Cannes: Wild Grass"
3140:Interview with Gilbert Adair in
1361:
1272:LumiĂšres Award for Best Director
1192:
1180:
1168:
1130:
7030:French male non-fiction writers
6980:CĂ©sar Honorary Award recipients
3949:"Berlinale: 1998 Prize Winners"
3924:"Berlinale: 1994 Prize Winners"
3894:
3875:
3859:
3836:
3829:Dates of marriages recorded in
3823:
3805:
3792:
3777:
3763:
3750:
3733:
3720:
3707:
3694:
3681:
3664:
3651:
3638:
3633:Une histoire du cinéma français
3625:
3612:
3599:
3586:
3573:
3561:
3556:Une histoire du cinéma français
3548:
3521:
3509:
3490:
3477:
3462:
3417:
3347:
3334:
3288:
3271:
3254:
3237:
3224:
3202:
3183:
3166:
3149:
3128:. (Paris: Ramsay, 2008.) p.252.
3118:
3105:
3088:
3075:
3059:
3038:
3020:
3015:Une histoire du cinéma français
3008:
2993:
2980:
2958:
2946:
2933:
2920:
2908:
2895:
2878:
2865:
2852:
2849:. (Paris: Ramsay, 2008). p.210.
2839:
2826:
2813:
2798:
2773:
2737:
2728:
2715:
2686:
2673:
2629:Encyclopedia of European Cinema
2614:Une histoire du cinéma français
2594:. (London: Verso, 2012). p.28.
2175:ChĂąteaux de France (Versailles)
715:as the titular detective, with
175:
153:
7015:French experimental filmmakers
4349:Private Fears in Public Places
3506:. (Paris: Ramsay, 2008.) p.77.
2823:. (Paris: Seuil, 1983.) p.218.
2747:. (Paris: Ramsay, 2008). p.42.
2683:. (Paris: Ramsay, 2008). p.29.
2660:
2647:
2634:
2569:. (London: Faber, 2004.) p.67.
2394:Le MystĂšre de l'atelier quinze
1911:Ouvert pour cause d'inventaire
1840:Laurent Herbiet, Alex Reval, (
1816:Laurent Herbiet, Alex Reval, (
1763:Private Fears in Public Places
1439:Muriel ou le Temps d'un retour
1248:; and 1993 Best Director, for
954:Private Fears in Public Places
377:Ouvert pour cause d'inventaire
13:
1:
6337:Silver Lion for Best Director
4505:CĂ©sar Award for Best Director
4050:. Paris: Flammarion, 1989. .
3528:Cole, Blake (30 April 2012).
3115:(London), 12 Sept. 1980, p.8.
2525:
1352:, Lifetime achievement award.
1088:, renamed two years later as
1033:
310:
4408:Pictura: An Adventure in Art
3831:International Who's Who 2004
3646:L'Itinéraire d'Alain Resnais
3048:. (Nantes: Capricci, 2007.)
2988:L'Itinéraire d'Alain Resnais
2770:. Retrieved 21 January 2018]
2304:Pictura: An Adventure in Art
1854:
1415:L'Année derniÚre à Marienbad
1365:
1289:L'Année derniÚre à Marienbad
1085:Le Club des bandes dessinées
807:
726:
598:L'Année derniÚre à Marienbad
544:
315:Resnais was born in 1922 at
7:
6990:Counterculture of the 1960s
6985:Counterculture of the 1950s
4365:You Ain't Seen Nothin' Yet!
3977:The Cinema of Alain Resnais
3028:"Dreaming of Harry Dickson"
1896:Schéma d'une identification
1812:You Ain't Seen Nothin' Yet!
1422:Last Year at (in) Marienbad
995:You Ain't Seen Nothin' Yet!
825:, sometimes accompanied by
777:, and a cast that included
418:(1950), which examined the
373:Schéma d'une identification
10:
7076:
6428:Aleksei Alekseivich German
5065:Paolo and Vittorio Taviani
4143:New Wave Film Encyclopedia
3356:Vous n'avez encore rien vu
1806:Vous n'avez encore rien vu
1053:, his first feature film.
990:Vous n'avez encore rien vu
699:, based on the stories by
7035:French male screenwriters
6894:
6811:
6765:
6692:
6644:
6605:
6518:
6443:
6372:
6343:
6121:
5872:
5501:
5254:
4955:
4511:
4471:
4432:Toute la mémoire du monde
4383:
4214:
4048:L'Atelier d'Alain Resnais
4020:Alain Resnais: Interviews
4013:Alain Resnais: anthologie
3986:. Paris: Ramsay, 2008. .
3891:at the Wayback Machine.)
3813:"Florence Malraux au CNC"
3631:Quoted in Claude Beylie,
3370:"2012 Official Selection"
3044:Towarnicki, Frédéric de,
2451:"Claude Ridder" segment.
2374:Toute la mémoire du monde
2323:Les statues meurent aussi
1866:
1863:
1860:
1377:
1374:
1371:
1229:Les statues meurent aussi
1204:
1117:Toute la mémoire du monde
1028:Arrivals & Departures
1008:2012 Cannes Film Festival
925:(1986), an adaptation of
539:Les statues meurent aussi
469:Toute la mémoire du monde
432:Les statues meurent aussi
382:
132:
124:
101:
91:
86:Neuilly-sur-Seine, France
75:
53:
41:
34:
4466:Awards for Alain Resnais
4411:(Gauguin segment) (1951)
4015:Paris: Gallimard, 2002.
3979:. London: Zwemmer, 1968.
3217:28 November 2010 at the
1926:Visite Ă Oscar Dominguez
1857:
1368:
1357:Filmography, as director
596:Resnais's next film was
208:Nazi concentration camps
7010:French cinematographers
6788:Jacques Doniol-Valcroze
3359:. Retrieved 2012-05-22.
2999:See also Chris Marker,
2939:Jean-Pierre Jeancolas,
1941:Visite Ă Lucien Coutaud
1830:Aimer, boire et chanter
1329:Aimer, boire et chanter
1013:Aimer, boire et chanter
579:, alongside Truffaut's
6919:CinémathÚque Française
6860:Last Year at Marienbad
6766:Theoretical influences
5053:Michelangelo Antonioni
4287:Life Is a Bed of Roses
4231:Last Year at Marienbad
3568:The French Cinema Book
3516:The French Cinema Book
3208:Ginette Vincendeau in
2821:Dictionnaire des films
2485:New York scenes only.
1997:Portrait d'Henri Goetz
1969:Visite Ă FĂ©lix Labisse
1932:30 mins. Uncompleted.
1590:Life Is a Bed of Roses
1437:
1396:
1387:
1049:
850:
840:Life Is a Bed of Roses
603:Last Year at Marienbad
581:Les Quatre Cents Coups
551:
474:BibliothĂšque nationale
447:
388:1946â1958: short films
224:Last Year at Marienbad
215:
7020:French film directors
5650:Christine Gouze-RĂ©nal
5626:Georges de Beauregard
4543:Christian de Chalonge
3909:22 March 2014 at the
3903:Le Nouvel Observateur
1983:Visite à César Doméla
1955:Visite Ă Hans Hartung
1887:10 mins. Unfinished.
1707:On connaĂźt la chanson
1321:On connaĂźt la chanson
1267:On connaĂźt la chanson
1158:Montparnasse cemetery
878:On connaĂźt la chanson
849:
744:L'An 01 (The Year 01)
721:Karlheinz Stockhausen
650:the Franco government
446:
352:Les Visiteurs du soir
343:Théùtre des Mathurins
96:Montparnasse Cemetery
7040:French screenwriters
6798:Joseph-Marie Lo Duca
6737:Jean-Pierre Melville
6463:Paul Thomas Anderson
6240:Abderrahmane Sissako
5749:Marcello Mastroianni
5679:René Ferracci (1986)
5599:Alexandre Mnouchkine
5113:Francis Ford Coppola
5097:Marcello Mastroianni
5075:Joseph L. Mankiewicz
4835:Abderrahmane Sissako
4787:Jean-François Richet
4255:Je t'aime, je t'aime
4153:Strictly Film School
2766:23 July 2008 at the
2223:Les Jardins de Paris
1555:Mon oncle d'Amérique
1494:Je t'aime, je t'aime
1488:Je t'aime, je t'aime
1346:Mon oncle d'Amérique
1335:Cannes Film Festival
1302:Berlin Film Festival
1281:Venice Film Festival
1221:and Robert Haessens.
1175:Sabine Azéma (1996).
1142:His second wife was
917:Mon oncle d'Amérique
792:Mon oncle d'Amérique
735:. He also published
682:Je t'aime, je t'aime
627:Manifesto of the 121
616:Venice Film Festival
577:Cannes Film Festival
305:Venice Film Festival
27:French film director
7025:French film editors
6844:Hiroshima mon amour
6679:Alain Robbe-Grillet
6491:Andrei Konchalovsky
6475:Andrei Konchalovsky
6234:Abdellatif Kechiche
6198:Abdellatif Kechiche
5442:Tony Leung Chiu-wai
5145:Suso Cecchi d'Amico
5003:Alessandro Blasetti
4811:Michel Hazanavicius
4779:Abdellatif Kechiche
4755:Abdellatif Kechiche
4639:Jean-Paul Rappeneau
4623:Jean-Jacques Annaud
4567:Jean-Jacques Annaud
4440:Le Chant du styrĂšne
4223:Hiroshima mon amour
3536:on 6 September 2015
3405:on 20 December 2012
3316:festival-cannes.com
3199:, 27 November 1998.
2973:8 July 2011 at the
2886:Hiroshima mon amour
2415:Le Chant du styrĂšne
1583:La vie est un roman
1463:La guerre est finie
1427:Alain Robbe-Grillet
1397:Hiroshima mon amour
1389:Hiroshima mon amour
1259:La guerre est finie
1215:22nd Oscar ceremony
1074:Alain Robbe-Grillet
1050:Hiroshima mon amour
835:La vie est un roman
640:La guerre est finie
608:Alain Robbe-Grillet
553:Hiroshima mon amour
525:Le Chant du styrĂšne
503:); with musicians (
501:Le Chant du styrĂšne
480:Le Chant du styrĂšne
255:Alain Robbe-Grillet
217:Hiroshima mon amour
7045:People from Vannes
6933:(2010 documentary)
6469:Alexandros Avranas
6451:Ălex de la Iglesia
6380:Buddhadeb Dasgupta
6180:Jean-Pierre Jeunet
6024:Scarlett Johansson
5886:Charlotte Rampling
5737:Sylvester Stallone
5719:Jean-Pierre Aumont
5563:Pierre Braunberger
5368:Jean-Paul Belmondo
5362:Bertrand Tavernier
5352:Thelma Schoonmaker
5298:Stefania Sandrelli
5284:Manoel de Oliveira
5274:Dino De Laurentiis
5163:Giuseppe De Santis
5107:Gian Maria Volonté
4731:Jean-Pierre Jeunet
4691:Bertrand Tavernier
4519:Bertrand Tavernier
4325:Smoking/No Smoking
4206:Films directed by
4076:Thomas, François.
4061:Thomas, François.
4046:Thomas, François.
4018:Higgins, Lynne A.
4011:Goudet, Stéphane.
3982:Benayoun, Robert.
3322:on 26 October 2014
3266:The New York Times
3034:. 22 January 2008.
2519:TV film. 52 mins.
2349:Nuit et Brouillard
1682:Smoking/No Smoking
1676:Smoking/No Smoking
1313:Smoking/No Smoking
1263:Smoking/No Smoking
1250:Smoking/No Smoking
1233:Nuit et Brouillard
948:Intimate Exchanges
938:Smoking/No Smoking
851:
762:Jean-Paul Belmondo
625:, and in 1960 the
559:Nuit et Brouillard
517:Nuit et Brouillard
497:Nuit et Brouillard
451:Nuit et Brouillard
448:
399:Pierre Braunberger
341:'s company at the
297:Louis Delluc Prize
197:[alÉÌÊÉnÉ]
6947:
6946:
6913:Cahiers du Cinéma
6820:Le Coup du Berger
6702:Philippe de Broca
6636:François Truffaut
6607:Cahiers du Cinéma
6565:
6564:
6559:
6558:
6303:
6302:
6246:Arnaud Desplechin
6204:François Dupeyron
6126:Mathieu Kassovitz
6081:
6080:
6072:Christopher Nolan
6006:Quentin Tarantino
5916:Bernadette Lafont
5857:Jean-Pierre LĂ©aud
5644:Danielle Darrieux
5593:Georges Dancigers
5461:
5460:
5428:Catherine Deneuve
5372:Jerzy Skolimowski
5356:Frederick Wiseman
5167:Goffredo Lombardo
5127:Claudia Cardinale
4915:
4914:
4905:
4897:
4889:
4881:
4873:
4865:
4857:
4849:
4843:Arnaud Desplechin
4841:
4833:
4825:
4817:
4809:
4801:
4793:
4785:
4777:
4769:
4761:
4753:
4745:
4737:
4729:
4721:
4713:
4705:
4697:
4685:
4677:
4669:
4661:
4653:
4645:
4637:
4629:
4621:
4613:
4605:
4597:
4589:
4581:
4573:
4565:
4559:François Truffaut
4557:
4549:
4541:
4533:
4525:
4517:
4458:
4457:
4311:I Want to Go Home
4279:My American Uncle
4139:Resnais biography
4101:978-0-7190-6407-4
4086:978-2-87449-961-6
4071:978-2-200-61616-8
4056:978-2-08-211408-0
4028:978-1-4968-3393-8
4004:Douin, Jean-Luc.
3992:978-2-84114-928-5
3798:Robert Benayoun,
3579:Robert Benayoun,
3499:Films and Filming
3496:A. Adrian Maben,
3483:François Thomas.
3230:Robert Benayoun,
3211:Sight & Sound
3157:Cahiers du Cinéma
3124:Robert Benayoun,
3081:Robert Benayoun,
2964:Ville de Cannes,
2926:Robert Benayoun,
2832:Robert Benayoun,
2779:Robert Benayoun,
2743:Robert Benayoun,
2679:Robert Benayoun,
2666:Robert Benayoun,
2600:978-1-84467-897-6
2523:
2522:
2447:Jacques Sternberg
2307:(Gauguin segment)
1877:L'Aventure de Guy
1848:
1847:
1785:Les Herbes folles
1768:Jean-Michel Ribes
1733:Pas sur la bouche
1722:Jean-Pierre Bacri
1687:Jean-Pierre Bacri
1660:I Want to Go Home
1654:I Want to Go Home
1561:My American Uncle
1499:Jacques Sternberg
1319:Silver Bear, for
1276:Pas sur la bouche
1255:Prix Louis-Delluc
1125:Les Herbes folles
983:Les Herbes folles
973:Les Herbes folles
932:I Want to Go Home
892:Pas sur la bouche
865:Hans Werner Henze
797:My American Uncle
694:Les Aventures de
687:Jacques Sternberg
263:Jacques Sternberg
239:la nouvelle vague
186:
185:
125:Years active
16:(Redirected from
7067:
6902:Arthouse musical
6876:Cléo from 5 to 7
6773:Alexandre Astruc
6694:Other filmmakers
6659:Marguerite Duras
6592:
6585:
6578:
6569:
6568:
6526:Kiyoshi Kurosawa
6330:
6323:
6316:
6307:
6306:
6108:
6101:
6094:
6085:
6084:
5934:Micheline Presle
5851:Georges Cravenne
5797:Charles Aznavour
5779:Steven Spielberg
5632:Edwige FeuillĂšre
5604:Jean NĂ©ny (1982)
5488:
5481:
5474:
5465:
5464:
5448:Sigourney Weaver
5422:Jamie Lee Curtis
5392:Vanessa Redgrave
5388:David Cronenberg
5346:William Friedkin
5334:Marco Bellocchio
5211:GĂ©rard Depardieu
5197:Vittorio Gassman
5139:Steven Spielberg
5059:Federico Fellini
5047:Cesare Zavattini
5043:Sergei Yutkevich
4993:Anatoli Golovnya
4942:
4935:
4928:
4919:
4918:
4903:
4895:
4887:
4879:
4871:
4863:
4855:
4847:
4839:
4831:
4823:
4815:
4807:
4799:
4791:
4783:
4775:
4767:
4759:
4751:
4743:
4735:
4727:
4719:
4711:
4703:
4695:
4683:
4675:
4667:
4659:
4651:
4643:
4635:
4627:
4619:
4611:
4603:
4595:
4587:
4579:
4571:
4563:
4555:
4547:
4539:
4531:
4523:
4515:
4498:
4491:
4484:
4475:
4474:
4462:
4461:
4448:Far from Vietnam
4416:Statues Also Die
4200:
4193:
4186:
4177:
4176:
4159:NYTimes obituary
4124:
4122:Biography portal
4119:
4118:
4117:
3964:
3963:
3961:
3959:
3945:
3939:
3938:
3936:
3934:
3920:
3914:
3913:, 11 mars 2014.
3898:
3892:
3887:, 2 mars 2014. (
3879:
3873:
3872:, 2 March 2014.
3863:
3857:
3840:
3834:
3827:
3821:
3820:
3809:
3803:
3796:
3790:
3781:
3775:
3767:
3761:
3754:
3748:
3737:
3731:
3724:
3718:
3711:
3705:
3698:
3692:
3685:
3679:
3668:
3662:
3655:
3649:
3642:
3636:
3629:
3623:
3616:
3610:
3603:
3597:
3592:Jean-Luc Douin,
3590:
3584:
3577:
3571:
3565:
3559:
3552:
3546:
3545:
3543:
3541:
3525:
3519:
3513:
3507:
3494:
3488:
3481:
3475:
3466:
3460:
3459:
3457:
3455:
3445:
3436:
3435:
3433:
3431:
3421:
3415:
3414:
3412:
3410:
3401:. Archived from
3391:
3385:
3384:
3382:
3380:
3366:
3360:
3351:
3345:
3340:Jean-Luc Douin,
3338:
3332:
3331:
3329:
3327:
3318:. Archived from
3308:
3299:
3292:
3286:
3275:
3269:
3258:
3252:
3241:
3235:
3228:
3222:
3206:
3200:
3189:Interview (with
3187:
3181:
3170:
3164:
3153:
3147:
3138:
3129:
3122:
3116:
3109:
3103:
3092:
3086:
3079:
3073:
3063:
3057:
3042:
3036:
3035:
3024:
3018:
3012:
3006:
2997:
2991:
2984:
2978:
2962:
2956:
2950:
2944:
2937:
2931:
2924:
2918:
2912:
2906:
2899:
2893:
2882:
2876:
2869:
2863:
2856:
2850:
2843:
2837:
2830:
2824:
2819:Georges Sadoul,
2817:
2811:
2810:, 3 March 2014.
2802:
2796:
2790:
2784:
2777:
2771:
2757:
2748:
2741:
2735:
2732:
2726:
2719:
2713:
2706:
2697:
2690:
2684:
2677:
2671:
2664:
2658:
2651:
2645:
2638:
2632:
2626:
2617:
2611:
2602:
2588:
2582:
2579:
2570:
2563:
2554:
2547:
2515:Edward Jablonski
2478:
2441:Far from Vietnam
2417:
2395:
2329:Statues Also Die
2325:
2253:
2229:Roland Dubillard
2224:
2211:
2163:
2127:
2090:
2076:
2052:Roland Dubillard
2043:
2027:
1878:
1855:
1851:Short films etc.
1787:
1609:
1585:
1472:
1465:
1442:
1417:
1403:Marguerite Duras
1399:
1392:
1366:
1265:; and 1997, for
1231:; and 1956, for
1196:
1184:
1172:
1070:Marguerite Duras
1052:
823:André Dussollier
758:Stephen Sondheim
713:Laurence Olivier
672:Far from Vietnam
568:Marguerite Duras
556:
534:La Pointe courte
437:Statues Also Die
347:Cours René-Simon
251:Marguerite Duras
220:
199:
194:
179:
177:
157:
155:
143:Florence Malraux
82:
63:
61:
46:
32:
31:
21:
7075:
7074:
7070:
7069:
7068:
7066:
7065:
7064:
7005:French atheists
6950:
6949:
6948:
6943:
6938:Trouver Frisson
6930:Two in the Wave
6890:
6807:
6761:
6688:
6640:
6631:Jacques Rivette
6621:Jean-Luc Godard
6601:
6599:French New Wave
6596:
6566:
6561:
6560:
6555:
6538:Luca Guadagnino
6514:
6503:Jacques Audiard
6439:
6410:Philippe Garrel
6368:
6351:Martin Scorsese
6339:
6334:
6304:
6299:
6264:Jacques Audiard
6228:Jacques Audiard
6210:Jacques Audiard
6186:Philippe Garrel
6162:Patrice Chéreau
6132:CĂ©dric Klapisch
6117:
6112:
6082:
6077:
6036:Michael Douglas
5982:Roberto Benigni
5940:Jacques Dutronc
5868:
5863:Martin Scorsese
5845:Josiane Balasko
5827:Pedro AlmodĂłvar
5821:Jean-Luc Godard
5809:Michael Douglas
5803:Andie MacDowell
5695:Serge Silberman
5689:Jean-Luc Godard
5683:Claude Lanzmann
5638:Christian-Jaque
5533:Robert Dorfmann
5497:
5492:
5462:
5457:
5418:Roberto Benigni
5398:Pedro AlmodĂłvar
5250:
5215:Stanley Kubrick
5179:Martin Scorsese
5171:Ennio Morricone
5121:Paolo Villaggio
5103:Mario Monicelli
5071:Luigi Comencini
5023:Alexander Kluge
5019:Jean-Luc Godard
4989:Charlie Chaplin
4951:
4946:
4916:
4911:
4883:Albert Dupontel
4867:Jacques Audiard
4859:Albert Dupontel
4795:Jacques Audiard
4771:Guillaume Canet
4763:Jacques Audiard
4707:Patrice Chéreau
4687:Patrice Leconte
4507:
4502:
4467:
4459:
4454:
4379:
4341:Not on the Lips
4295:Love Unto Death
4247:The War Is Over
4210:
4204:
4120:
4115:
4113:
4110:
4039:Monaco, James.
3972:
3970:Further reading
3967:
3957:
3955:
3947:
3946:
3942:
3932:
3930:
3922:
3921:
3917:
3911:Wayback Machine
3899:
3895:
3880:
3876:
3866:Obituary notice
3864:
3860:
3841:
3837:
3828:
3824:
3811:
3810:
3806:
3797:
3793:
3789:, 22 June 2010.
3782:
3778:
3768:
3764:
3755:
3751:
3738:
3734:
3725:
3721:
3712:
3708:
3700:David Thomson,
3699:
3695:
3686:
3682:
3669:
3665:
3656:
3652:
3643:
3639:
3630:
3626:
3617:
3613:
3604:
3600:
3591:
3587:
3578:
3574:
3566:
3562:
3554:Claude Beylie,
3553:
3549:
3539:
3537:
3526:
3522:
3514:
3510:
3495:
3491:
3482:
3478:
3474:, 3 mars 2014.
3467:
3463:
3453:
3451:
3447:
3446:
3439:
3429:
3427:
3423:
3422:
3418:
3408:
3406:
3393:
3392:
3388:
3378:
3376:
3368:
3367:
3363:
3352:
3348:
3339:
3335:
3325:
3323:
3310:
3309:
3302:
3293:
3289:
3276:
3272:
3259:
3255:
3242:
3238:
3229:
3225:
3219:Wayback Machine
3207:
3203:
3188:
3184:
3171:
3167:
3154:
3150:
3146:, 22 June 2010.
3139:
3132:
3123:
3119:
3110:
3106:
3093:
3089:
3080:
3076:
3064:
3060:
3043:
3039:
3026:
3025:
3021:
3013:
3009:
2998:
2994:
2985:
2981:
2975:Wayback Machine
2963:
2959:
2951:
2947:
2938:
2934:
2925:
2921:
2913:
2909:
2900:
2896:
2883:
2879:
2870:
2866:
2857:
2853:
2844:
2840:
2831:
2827:
2818:
2814:
2803:
2799:
2791:
2787:
2778:
2774:
2768:Wayback Machine
2761:Awards Database
2758:
2751:
2742:
2738:
2733:
2729:
2720:
2716:
2707:
2700:
2691:
2687:
2678:
2674:
2665:
2661:
2652:
2648:
2639:
2635:
2627:
2620:
2612:
2605:
2589:
2585:
2580:
2573:
2564:
2557:
2548:
2537:
2528:
2436:Loin du Vietnam
2422:Raymond Queneau
2231:
2201:
2153:
2117:
2054:
1917:90 mins. Lost.
1902:30 mins. Lost.
1853:
1739:Not on the Lips
1642:Henri Bernstein
1614:Love Unto Death
1471:The War Is Over
1364:
1359:
1207:
1200:
1197:
1188:
1185:
1176:
1173:
1163:
1133:
1036:
927:Henri Bernstein
897:Not on the Lips
861:Love unto Death
810:
748:Jacques Doillon
733:Marquis de Sade
729:
667:Loin du Vietnam
663:Jean-Luc Godard
645:The War Is Over
591:French New Wave
547:
531:'s first film,
485:Raymond Queneau
390:
385:
339:Georges Pitoëff
313:
275:Henri Bernstein
235:French New Wave
192:
182:
181:
178: 1998)
173:
169:
159:
151:
147:
144:
120:
117:cinematographer
87:
84:
80:
71:
65:
59:
57:
49:
37:
28:
23:
22:
15:
12:
11:
5:
7073:
7063:
7062:
7057:
7052:
7047:
7042:
7037:
7032:
7027:
7022:
7017:
7012:
7007:
7002:
6997:
6992:
6987:
6982:
6977:
6972:
6967:
6962:
6945:
6944:
6942:
6941:
6934:
6926:
6921:
6916:
6909:
6904:
6898:
6896:
6892:
6891:
6889:
6888:
6880:
6872:
6864:
6856:
6848:
6840:
6832:
6824:
6815:
6813:
6809:
6808:
6806:
6805:
6800:
6795:
6793:Henri Langlois
6790:
6785:
6783:Robert Bresson
6780:
6775:
6769:
6767:
6763:
6762:
6760:
6759:
6754:
6752:StraubâHuillet
6749:
6747:Jacques Rozier
6744:
6739:
6734:
6729:
6724:
6722:Georges Franju
6719:
6714:
6709:
6704:
6698:
6696:
6690:
6689:
6687:
6686:
6681:
6676:
6671:
6666:
6661:
6656:
6650:
6648:
6642:
6641:
6639:
6638:
6633:
6628:
6623:
6618:
6616:Claude Chabrol
6612:
6610:
6603:
6602:
6595:
6594:
6587:
6580:
6572:
6563:
6562:
6557:
6556:
6554:
6553:
6547:
6544:Matteo Garrone
6541:
6535:
6529:
6522:
6520:
6516:
6515:
6513:
6512:
6506:
6500:
6497:Xavier Legrand
6494:
6487:Amat Escalante
6484:
6478:
6472:
6466:
6460:
6454:
6447:
6445:
6441:
6440:
6438:
6437:
6431:
6425:
6422:Brian De Palma
6419:
6413:
6407:
6401:
6398:Takeshi Kitano
6395:
6392:Lee Chang-dong
6389:
6383:
6376:
6374:
6370:
6369:
6367:
6366:
6360:
6357:Emir Kusturica
6354:
6347:
6345:
6341:
6340:
6333:
6332:
6325:
6318:
6310:
6301:
6300:
6298:
6297:
6294:Thomas Cailley
6291:
6285:
6279:
6273:
6270:Roman Polanski
6267:
6261:
6258:Robin Campillo
6255:
6252:Paul Verhoeven
6249:
6243:
6237:
6231:
6225:
6219:
6216:Roman Polanski
6213:
6207:
6201:
6195:
6192:Pascale Ferran
6189:
6183:
6177:
6171:
6165:
6159:
6153:
6147:
6141:
6135:
6129:
6122:
6119:
6118:
6111:
6110:
6103:
6096:
6088:
6079:
6078:
6076:
6075:
6069:
6063:
6060:Cate Blanchett
6057:
6054:Robert Redford
6051:
6045:
6042:George Clooney
6039:
6033:
6027:
6021:
6015:
6009:
6003:
5997:
5994:Dustin Hoffman
5991:
5988:Romy Schneider
5985:
5979:
5973:
5967:
5964:MarlĂšne Jobert
5961:
5958:Pierre Richard
5955:
5949:
5943:
5937:
5931:
5925:
5919:
5913:
5907:
5901:
5895:
5889:
5883:
5876:
5874:
5870:
5869:
5867:
5866:
5860:
5854:
5848:
5842:
5839:Jean Rochefort
5836:
5830:
5824:
5818:
5815:Clint Eastwood
5812:
5806:
5800:
5794:
5791:Henri Verneuil
5788:
5782:
5776:
5770:
5764:
5758:
5752:
5746:
5740:
5734:
5731:MichĂšle Morgan
5728:
5722:
5716:
5713:GĂ©rard Philipe
5710:
5704:
5698:
5692:
5686:
5680:
5677:
5671:
5665:
5659:
5653:
5647:
5641:
5635:
5629:
5623:
5617:
5611:
5605:
5602:
5596:
5590:
5584:
5578:
5572:
5569:Louis de FunĂšs
5566:
5560:
5554:
5548:
5542:
5536:
5530:
5524:
5521:Henri Langlois
5518:
5512:
5509:Ingrid Bergman
5505:
5503:
5499:
5498:
5495:Honorary CĂ©sar
5491:
5490:
5483:
5476:
5468:
5459:
5458:
5456:
5455:
5445:
5438:Liliana Cavani
5435:
5425:
5415:
5405:
5395:
5385:
5382:Robert Redford
5375:
5365:
5359:
5349:
5343:
5340:Francesco Rosi
5337:
5331:
5325:
5319:
5313:
5307:
5301:
5294:Hayao Miyazaki
5291:
5281:
5271:
5265:
5258:
5256:
5252:
5251:
5249:
5248:
5245:Clint Eastwood
5242:
5236:
5222:
5208:
5205:MichĂšle Morgan
5201:Dustin Hoffman
5190:
5156:
5142:
5135:Roman Polanski
5131:Robert De Niro
5124:
5110:
5100:
5090:
5087:Robert Bresson
5084:
5078:
5068:
5062:
5056:
5050:
5031:Michael Powell
5027:Akira Kurosawa
5000:
4986:
4983:Ingmar Bergman
4972:
4966:
4959:
4957:
4953:
4952:
4945:
4944:
4937:
4930:
4922:
4913:
4912:
4910:
4909:
4901:
4893:
4885:
4877:
4875:Roman Polanski
4869:
4861:
4853:
4845:
4837:
4829:
4827:Roman Polanski
4821:
4819:Michael Haneke
4813:
4805:
4803:Roman Polanski
4797:
4789:
4781:
4773:
4765:
4757:
4749:
4741:
4739:Roman Polanski
4733:
4725:
4717:
4715:Tonie Marshall
4709:
4701:
4693:
4681:
4673:
4665:
4657:
4649:
4641:
4633:
4631:Bertrand Blier
4625:
4617:
4609:
4607:Alain Cavalier
4601:
4599:Michel Deville
4593:
4585:
4577:
4569:
4561:
4553:
4551:Roman Polanski
4545:
4537:
4529:
4521:
4512:
4509:
4508:
4501:
4500:
4493:
4486:
4478:
4472:
4469:
4468:
4456:
4455:
4453:
4452:
4444:
4436:
4428:
4420:
4412:
4404:
4396:
4387:
4385:
4381:
4380:
4378:
4377:
4369:
4361:
4353:
4345:
4337:
4329:
4321:
4315:
4307:
4299:
4291:
4283:
4275:
4267:
4259:
4251:
4243:
4235:
4227:
4218:
4216:
4212:
4211:
4203:
4202:
4195:
4188:
4180:
4174:
4173:
4161:
4156:
4146:
4136:
4126:
4125:
4109:
4108:External links
4106:
4105:
4104:
4091:Wilson, Emma.
4089:
4074:
4059:
4044:
4037:
4030:
4016:
4009:
4002:
3997:Callev, Haim.
3995:
3980:
3971:
3968:
3966:
3965:
3940:
3915:
3893:
3874:
3858:
3835:
3822:
3804:
3791:
3776:
3772:Chicago Reader
3762:
3749:
3732:
3719:
3713:James Monaco,
3706:
3693:
3689:Film Quarterly
3687:Susan Sontag,
3680:
3663:
3650:
3637:
3624:
3611:
3605:James Monaco,
3598:
3585:
3572:
3560:
3547:
3520:
3508:
3489:
3476:
3461:
3437:
3416:
3386:
3361:
3346:
3333:
3300:
3287:
3270:
3253:
3236:
3223:
3201:
3182:
3165:
3148:
3130:
3117:
3104:
3087:
3074:
3058:
3037:
3019:
3007:
2992:
2979:
2957:
2945:
2932:
2919:
2907:
2894:
2877:
2871:James Monaco,
2864:
2851:
2838:
2825:
2812:
2797:
2785:
2772:
2749:
2736:
2727:
2714:
2708:James Monaco,
2698:
2685:
2672:
2659:
2653:James Monaco,
2646:
2633:
2618:
2603:
2583:
2571:
2555:
2549:Ephraim Katz,
2534:
2527:
2524:
2521:
2520:
2517:
2512:
2507:
2503:
2502:
2499:
2497:
2494:Contre l'oubli
2491:
2487:
2486:
2483:
2481:
2473:
2469:
2468:
2465:
2463:
2457:
2453:
2452:
2449:
2444:
2432:
2428:
2427:
2424:
2419:
2410:
2406:
2405:
2402:
2397:
2390:
2386:
2385:
2382:
2377:
2370:
2366:
2365:
2362:
2357:
2345:
2341:
2340:
2337:
2332:
2318:
2314:
2313:
2310:
2308:
2300:
2296:
2295:
2292:
2287:
2280:
2276:
2275:
2272:
2267:
2262:
2258:
2257:
2254:
2226:
2219:
2215:
2214:
2212:
2199:Robert Hessens
2192:
2187:
2183:
2182:
2179:
2177:
2172:
2168:
2167:
2164:
2151:Robert Hessens
2144:
2136:
2132:
2131:
2128:
2115:Robert Hessens
2108:
2102:
2098:
2097:
2094:
2092:
2089:Le Lait Nestlé
2085:
2081:
2080:
2077:
2045:
2038:
2034:
2033:
2031:
2029:
2022:
2018:
2017:
2015:
2013:
2008:
2004:
2003:
2001:
1999:
1994:
1990:
1989:
1987:
1985:
1980:
1976:
1975:
1973:
1971:
1966:
1962:
1961:
1959:
1957:
1952:
1948:
1947:
1945:
1943:
1938:
1934:
1933:
1930:
1928:
1923:
1919:
1918:
1915:
1913:
1908:
1904:
1903:
1900:
1898:
1893:
1889:
1888:
1885:
1880:
1873:
1869:
1868:
1865:
1862:
1859:
1852:
1849:
1846:
1845:
1842:Alan Ayckbourn
1838:
1833:
1826:
1822:
1821:
1814:
1809:
1802:
1798:
1797:
1794:
1789:
1780:
1776:
1775:
1772:Alan Ayckbourn
1765:
1760:
1753:
1749:
1748:
1741:
1736:
1729:
1725:
1724:
1715:
1710:
1703:
1699:
1698:
1695:Alan Ayckbourn
1684:
1679:
1672:
1668:
1667:
1662:
1657:
1650:
1646:
1645:
1638:
1633:
1626:
1622:
1621:
1616:
1611:
1607:L'Amour Ă mort
1602:
1598:
1597:
1592:
1587:
1578:
1574:
1573:
1563:
1558:
1551:
1547:
1546:
1541:
1536:
1529:
1525:
1524:
1519:
1514:
1506:
1502:
1501:
1496:
1491:
1484:
1480:
1479:
1474:
1467:
1458:
1454:
1453:
1448:
1443:
1434:
1430:
1429:
1424:
1419:
1410:
1406:
1405:
1400:
1393:
1384:
1380:
1379:
1376:
1375:English title
1373:
1370:
1363:
1360:
1358:
1355:
1354:
1353:
1332:
1299:
1278:
1269:
1252:
1235:
1225:Prix Jean Vigo
1222:
1206:
1203:
1202:
1201:
1198:
1191:
1189:
1186:
1179:
1177:
1174:
1167:
1132:
1129:
1044:nouvelle vague
1035:
1032:
943:Alan Ayckbourn
856:L'Amour Ă mort
831:Lambert Wilson
809:
806:
728:
725:
705:Anatole Dauman
563:Anatole Dauman
546:
543:
521:Pierre Barbaud
505:Darius Milhaud
389:
386:
384:
381:
369:GĂ©rard Philipe
361:Jean Grémillon
312:
309:
271:Alan Ayckbourn
184:
183:
171:
165:
164:
163:
162:
149:
145:
142:
141:
140:
139:
136:
134:
130:
129:
126:
122:
121:
119:
118:
115:
112:
109:
105:
103:
99:
98:
93:
89:
88:
85:
83:(aged 91)
77:
73:
72:
66:
55:
51:
50:
47:
39:
38:
35:
26:
9:
6:
4:
3:
2:
7072:
7061:
7058:
7056:
7053:
7051:
7048:
7046:
7043:
7041:
7038:
7036:
7033:
7031:
7028:
7026:
7023:
7021:
7018:
7016:
7013:
7011:
7008:
7006:
7003:
7001:
6998:
6996:
6993:
6991:
6988:
6986:
6983:
6981:
6978:
6976:
6973:
6971:
6968:
6966:
6963:
6961:
6958:
6957:
6955:
6940:
6939:
6935:
6932:
6931:
6927:
6925:
6922:
6920:
6917:
6915:
6914:
6910:
6908:
6905:
6903:
6900:
6899:
6897:
6893:
6886:
6885:
6881:
6878:
6877:
6873:
6870:
6869:
6868:Jules and Jim
6865:
6862:
6861:
6857:
6854:
6853:
6849:
6846:
6845:
6841:
6838:
6837:
6836:The 400 Blows
6833:
6830:
6829:
6828:Le Beau Serge
6825:
6822:
6821:
6817:
6816:
6814:
6810:
6804:
6801:
6799:
6796:
6794:
6791:
6789:
6786:
6784:
6781:
6779:
6776:
6774:
6771:
6770:
6768:
6764:
6758:
6755:
6753:
6750:
6748:
6745:
6743:
6740:
6738:
6735:
6733:
6730:
6728:
6725:
6723:
6720:
6718:
6717:Jean Eustache
6715:
6713:
6710:
6708:
6705:
6703:
6700:
6699:
6697:
6695:
6691:
6685:
6682:
6680:
6677:
6675:
6674:Alain Resnais
6672:
6670:
6667:
6665:
6662:
6660:
6657:
6655:
6652:
6651:
6649:
6647:
6643:
6637:
6634:
6632:
6629:
6627:
6624:
6622:
6619:
6617:
6614:
6613:
6611:
6608:
6604:
6600:
6593:
6588:
6586:
6581:
6579:
6574:
6573:
6570:
6551:
6548:
6545:
6542:
6539:
6536:
6533:
6530:
6527:
6524:
6523:
6521:
6517:
6510:
6509:Roy Andersson
6507:
6504:
6501:
6498:
6495:
6492:
6488:
6485:
6482:
6481:Pablo Trapero
6479:
6476:
6473:
6470:
6467:
6464:
6461:
6458:
6455:
6452:
6449:
6448:
6446:
6442:
6435:
6434:Shirin Neshat
6432:
6429:
6426:
6423:
6420:
6417:
6416:Alain Resnais
6414:
6411:
6408:
6405:
6402:
6399:
6396:
6393:
6390:
6387:
6384:
6381:
6378:
6377:
6375:
6371:
6364:
6361:
6358:
6355:
6352:
6349:
6348:
6346:
6342:
6338:
6331:
6326:
6324:
6319:
6317:
6312:
6311:
6308:
6295:
6292:
6289:
6286:
6283:
6280:
6277:
6274:
6271:
6268:
6265:
6262:
6259:
6256:
6253:
6250:
6247:
6244:
6241:
6238:
6235:
6232:
6229:
6226:
6223:
6220:
6217:
6214:
6211:
6208:
6205:
6202:
6199:
6196:
6193:
6190:
6187:
6184:
6181:
6178:
6175:
6174:Alain Resnais
6172:
6169:
6168:François Ozon
6166:
6163:
6160:
6157:
6154:
6151:
6148:
6145:
6142:
6139:
6136:
6133:
6130:
6127:
6124:
6123:
6120:
6116:
6109:
6104:
6102:
6097:
6095:
6090:
6089:
6086:
6073:
6070:
6067:
6066:David Fincher
6064:
6061:
6058:
6055:
6052:
6049:
6048:Penélope Cruz
6046:
6043:
6040:
6037:
6034:
6031:
6028:
6025:
6022:
6019:
6018:Kevin Costner
6016:
6013:
6010:
6007:
6004:
6001:
6000:Harrison Ford
5998:
5995:
5992:
5989:
5986:
5983:
5980:
5977:
5976:Jeanne Moreau
5974:
5971:
5968:
5965:
5962:
5959:
5956:
5953:
5950:
5947:
5944:
5941:
5938:
5935:
5932:
5929:
5926:
5923:
5920:
5917:
5914:
5911:
5908:
5905:
5902:
5899:
5896:
5893:
5890:
5887:
5884:
5881:
5878:
5877:
5875:
5871:
5864:
5861:
5858:
5855:
5852:
5849:
5846:
5843:
5840:
5837:
5834:
5831:
5828:
5825:
5822:
5819:
5816:
5813:
5810:
5807:
5804:
5801:
5798:
5795:
5792:
5789:
5786:
5785:Lauren Bacall
5783:
5780:
5777:
5774:
5771:
5768:
5767:Jeanne Moreau
5765:
5762:
5759:
5756:
5753:
5750:
5747:
5744:
5741:
5738:
5735:
5732:
5729:
5726:
5723:
5720:
5717:
5714:
5711:
5708:
5707:Paul Grimault
5705:
5702:
5701:Bernard Blier
5699:
5696:
5693:
5690:
5687:
5684:
5681:
5678:
5675:
5674:Jean Delannoy
5672:
5669:
5666:
5663:
5662:Maurice Jarre
5660:
5657:
5654:
5651:
5648:
5645:
5642:
5639:
5636:
5633:
5630:
5627:
5624:
5621:
5618:
5615:
5612:
5609:
5608:Andrzej Wajda
5606:
5603:
5600:
5597:
5594:
5591:
5588:
5587:Alain Resnais
5585:
5582:
5581:Marcel Pagnol
5579:
5576:
5573:
5570:
5567:
5564:
5561:
5558:
5555:
5552:
5551:Charles Vanel
5549:
5546:
5543:
5540:
5539:René Goscinny
5537:
5534:
5531:
5528:
5525:
5522:
5519:
5516:
5513:
5510:
5507:
5506:
5504:
5500:
5496:
5489:
5484:
5482:
5477:
5475:
5470:
5469:
5466:
5453:
5449:
5446:
5443:
5439:
5436:
5433:
5432:Paul Schrader
5429:
5426:
5423:
5419:
5416:
5413:
5412:Tilda Swinton
5409:
5406:
5403:
5402:Julie Andrews
5399:
5396:
5393:
5389:
5386:
5383:
5379:
5376:
5373:
5369:
5366:
5363:
5360:
5357:
5353:
5350:
5347:
5344:
5341:
5338:
5335:
5332:
5329:
5326:
5323:
5322:John Lasseter
5320:
5317:
5314:
5311:
5308:
5305:
5302:
5299:
5295:
5292:
5289:
5288:Stanley Donen
5285:
5282:
5279:
5275:
5272:
5269:
5266:
5263:
5260:
5259:
5257:
5253:
5246:
5243:
5240:
5237:
5234:
5233:Andrzej Wajda
5230:
5226:
5225:Warren Beatty
5223:
5220:
5216:
5212:
5209:
5206:
5202:
5198:
5194:
5193:Robert Altman
5191:
5188:
5184:
5183:Alberto Sordi
5180:
5176:
5175:Alain Resnais
5172:
5168:
5164:
5160:
5157:
5154:
5150:
5146:
5143:
5140:
5136:
5132:
5128:
5125:
5122:
5118:
5117:Jeanne Moreau
5114:
5111:
5108:
5104:
5101:
5098:
5094:
5093:MiklĂłs JancsĂł
5091:
5088:
5085:
5082:
5079:
5076:
5072:
5069:
5066:
5063:
5060:
5057:
5054:
5051:
5048:
5044:
5040:
5036:
5032:
5028:
5024:
5020:
5016:
5012:
5008:
5004:
5001:
4998:
4994:
4990:
4987:
4984:
4980:
4976:
4973:
4970:
4967:
4964:
4961:
4960:
4958:
4954:
4950:
4943:
4938:
4936:
4931:
4929:
4924:
4923:
4920:
4908:
4907:Justine Triet
4902:
4900:
4894:
4892:
4886:
4884:
4878:
4876:
4870:
4868:
4862:
4860:
4854:
4852:
4846:
4844:
4838:
4836:
4830:
4828:
4822:
4820:
4814:
4812:
4806:
4804:
4798:
4796:
4790:
4788:
4782:
4780:
4774:
4772:
4766:
4764:
4758:
4756:
4750:
4748:
4742:
4740:
4734:
4732:
4726:
4724:
4718:
4716:
4710:
4708:
4702:
4700:
4694:
4692:
4688:
4682:
4680:
4679:Claude Sautet
4674:
4672:
4671:André Téchiné
4666:
4664:
4663:Alain Resnais
4658:
4656:
4655:Claude Sautet
4650:
4648:
4647:Alain Corneau
4642:
4640:
4634:
4632:
4626:
4624:
4618:
4616:
4610:
4608:
4602:
4600:
4594:
4592:
4586:
4584:
4578:
4576:
4575:Andrzej Wajda
4570:
4568:
4562:
4560:
4554:
4552:
4546:
4544:
4538:
4536:
4535:Alain Resnais
4530:
4528:
4522:
4520:
4514:
4513:
4510:
4506:
4499:
4494:
4492:
4487:
4485:
4480:
4479:
4476:
4470:
4463:
4450:
4449:
4445:
4442:
4441:
4437:
4434:
4433:
4429:
4426:
4425:
4424:Night and Fog
4421:
4418:
4417:
4413:
4410:
4409:
4405:
4402:
4401:
4397:
4394:
4393:
4389:
4388:
4386:
4382:
4375:
4374:
4373:Life of Riley
4370:
4367:
4366:
4362:
4359:
4358:
4354:
4351:
4350:
4346:
4343:
4342:
4338:
4335:
4334:
4333:Same Old Song
4330:
4327:
4326:
4322:
4319:
4316:
4313:
4312:
4308:
4305:
4304:
4300:
4297:
4296:
4292:
4289:
4288:
4284:
4281:
4280:
4276:
4273:
4272:
4268:
4265:
4264:
4260:
4257:
4256:
4252:
4249:
4248:
4244:
4241:
4240:
4236:
4233:
4232:
4228:
4225:
4224:
4220:
4219:
4217:
4215:Feature films
4213:
4209:
4208:Alain Resnais
4201:
4196:
4194:
4189:
4187:
4182:
4181:
4178:
4171:
4170:
4165:
4162:
4160:
4157:
4154:
4150:
4147:
4144:
4140:
4137:
4135:
4131:
4130:Alain Resnais
4128:
4127:
4123:
4112:
4102:
4098:
4094:
4093:Alain Resnais
4090:
4087:
4083:
4079:
4075:
4072:
4068:
4064:
4060:
4057:
4053:
4049:
4045:
4042:
4038:
4035:
4031:
4029:
4025:
4021:
4017:
4014:
4010:
4007:
4006:Alain Resnais
4003:
4000:
3996:
3993:
3989:
3985:
3981:
3978:
3974:
3973:
3954:
3950:
3944:
3929:
3925:
3919:
3912:
3908:
3905:
3904:
3897:
3890:
3886:
3885:
3878:
3871:
3867:
3862:
3855:
3854:9781108478908
3851:
3847:
3846:
3839:
3832:
3826:
3818:
3817:Libération.fr
3814:
3808:
3801:
3795:
3788:
3787:
3780:
3774:
3773:
3766:
3759:
3753:
3746:
3745:Alain Resnais
3742:
3736:
3729:
3723:
3716:
3710:
3703:
3697:
3690:
3684:
3677:
3673:
3667:
3660:
3659:Alain Resnais
3657:Emma Wilson,
3654:
3647:
3644:René Prédal,
3641:
3634:
3628:
3621:
3620:Alain Resnais
3615:
3608:
3602:
3595:
3594:Alain Resnais
3589:
3582:
3576:
3569:
3564:
3557:
3551:
3535:
3531:
3524:
3517:
3512:
3505:
3501:
3500:
3493:
3486:
3480:
3473:
3472:
3465:
3450:
3444:
3442:
3426:
3420:
3404:
3400:
3396:
3390:
3375:
3371:
3365:
3358:
3357:
3350:
3343:
3342:Alain Resnais
3337:
3321:
3317:
3313:
3307:
3305:
3297:
3291:
3284:
3283:Alain Resnais
3280:
3274:
3267:
3263:
3257:
3250:
3249:Alain Resnais
3246:
3240:
3233:
3227:
3220:
3216:
3213:
3212:
3205:
3198:
3197:
3192:
3191:Ronald Bergan
3186:
3179:
3178:Alain Resnais
3175:
3169:
3162:
3161:Alain Resnais
3158:
3155:Interview in
3152:
3145:
3144:
3137:
3135:
3127:
3121:
3114:
3108:
3101:
3100:Alain Resnais
3097:
3091:
3084:
3078:
3071:
3067:
3062:
3055:
3054:9782952696258
3051:
3047:
3041:
3033:
3029:
3023:
3016:
3011:
3004:
3003:
2996:
2989:
2986:René Prédal,
2983:
2976:
2972:
2969:
2968:
2961:
2954:
2949:
2942:
2936:
2929:
2923:
2916:
2911:
2904:
2903:French Cinema
2898:
2891:
2890:Alain Resnais
2887:
2881:
2874:
2868:
2861:
2860:Alain Resnais
2858:Emma Wilson,
2855:
2848:
2842:
2835:
2829:
2822:
2816:
2809:
2808:
2801:
2794:
2789:
2782:
2776:
2769:
2765:
2762:
2756:
2754:
2746:
2740:
2731:
2724:
2718:
2711:
2705:
2703:
2695:
2689:
2682:
2676:
2669:
2663:
2656:
2650:
2643:
2642:Alain Resnais
2640:Emma Wilson,
2637:
2630:
2625:
2623:
2615:
2610:
2608:
2601:
2597:
2593:
2590:Slavo Zizek,
2587:
2578:
2576:
2568:
2565:Peter Cowie,
2562:
2560:
2552:
2546:
2544:
2542:
2540:
2535:
2533:
2532:
2518:
2516:
2513:
2511:
2508:
2505:
2504:
2500:
2498:
2495:
2492:
2489:
2488:
2484:
2482:
2479:
2474:
2471:
2470:
2466:
2464:
2461:
2458:
2455:
2454:
2450:
2448:
2445:
2442:
2438:
2437:
2433:
2430:
2429:
2425:
2423:
2420:
2418:
2416:
2411:
2408:
2407:
2403:
2401:
2398:
2396:
2391:
2388:
2387:
2383:
2381:
2378:
2376:
2375:
2371:
2368:
2367:
2363:
2361:
2358:
2355:
2354:Night and Fog
2351:
2350:
2346:
2343:
2342:
2338:
2336:
2333:
2330:
2326:
2324:
2319:
2316:
2315:
2311:
2309:
2306:
2305:
2301:
2298:
2297:
2293:
2291:
2288:
2286:
2285:
2281:
2278:
2277:
2273:
2271:
2268:
2266:
2263:
2260:
2259:
2255:
2251:
2247:
2243:
2239:
2235:
2230:
2227:
2225:
2220:
2217:
2216:
2213:
2209:
2205:
2200:
2196:
2193:
2191:
2188:
2185:
2184:
2180:
2178:
2176:
2173:
2170:
2169:
2165:
2161:
2157:
2152:
2148:
2145:
2142:
2141:
2137:
2134:
2133:
2129:
2125:
2121:
2116:
2112:
2109:
2106:
2103:
2100:
2099:
2095:
2093:
2091:
2086:
2083:
2082:
2078:
2074:
2070:
2066:
2062:
2058:
2053:
2049:
2046:
2044:
2039:
2036:
2035:
2032:
2030:
2028:
2023:
2020:
2019:
2016:
2014:
2012:
2009:
2006:
2005:
2002:
2000:
1998:
1995:
1992:
1991:
1988:
1986:
1984:
1981:
1978:
1977:
1974:
1972:
1970:
1967:
1964:
1963:
1960:
1958:
1956:
1953:
1950:
1949:
1946:
1944:
1942:
1939:
1936:
1935:
1931:
1929:
1927:
1924:
1921:
1920:
1916:
1914:
1912:
1909:
1906:
1905:
1901:
1899:
1897:
1894:
1891:
1890:
1886:
1884:
1881:
1879:
1874:
1871:
1870:
1864:Screenwriter
1856:
1843:
1839:
1837:
1836:Life of Riley
1834:
1832:
1831:
1827:
1824:
1823:
1819:
1815:
1813:
1810:
1808:
1807:
1803:
1800:
1799:
1795:
1793:
1790:
1788:
1786:
1781:
1778:
1777:
1773:
1769:
1766:
1764:
1761:
1759:
1758:
1754:
1751:
1750:
1746:
1742:
1740:
1737:
1735:
1734:
1730:
1727:
1726:
1723:
1719:
1716:
1714:
1713:Same Old Song
1711:
1709:
1708:
1704:
1701:
1700:
1696:
1692:
1688:
1685:
1683:
1680:
1678:
1677:
1673:
1670:
1669:
1666:
1665:Jules Feiffer
1663:
1661:
1658:
1656:
1655:
1651:
1648:
1647:
1643:
1639:
1637:
1634:
1632:
1631:
1627:
1624:
1623:
1620:
1617:
1615:
1612:
1610:
1608:
1603:
1600:
1599:
1596:
1593:
1591:
1588:
1586:
1584:
1579:
1576:
1575:
1571:
1570:Henri Laborit
1567:
1564:
1562:
1559:
1557:
1556:
1552:
1549:
1548:
1545:
1542:
1540:
1537:
1535:
1534:
1530:
1527:
1526:
1523:
1522:Jorge SemprĂșn
1520:
1518:
1515:
1513:
1511:
1507:
1504:
1503:
1500:
1497:
1495:
1492:
1490:
1489:
1485:
1482:
1481:
1478:
1477:Jorge SemprĂșn
1475:
1473:
1468:
1466:
1464:
1459:
1456:
1455:
1452:
1449:
1447:
1444:
1441:
1440:
1435:
1432:
1431:
1428:
1425:
1423:
1420:
1418:
1416:
1411:
1408:
1407:
1404:
1401:
1398:
1394:
1391:
1390:
1385:
1382:
1381:
1378:Screenwriter
1367:
1362:Feature films
1351:
1347:
1343:
1340:
1336:
1333:
1330:
1326:
1322:
1318:
1314:
1310:
1307:
1303:
1300:
1298:
1294:
1290:
1286:
1282:
1279:
1277:
1273:
1270:
1268:
1264:
1260:
1256:
1253:
1251:
1247:
1243:
1242:Best Director
1239:
1236:
1234:
1230:
1226:
1223:
1220:
1216:
1212:
1211:Academy Award
1209:
1208:
1195:
1190:
1183:
1178:
1171:
1166:
1165:
1164:
1161:
1159:
1154:
1151:
1149:
1145:
1140:
1138:
1137:André Malraux
1131:Personal life
1128:
1126:
1122:
1118:
1113:
1109:
1105:
1101:
1097:
1093:
1091:
1087:
1086:
1081:
1080:
1079:nouveau roman
1075:
1071:
1067:
1063:
1059:
1054:
1051:
1045:
1041:
1031:
1029:
1025:
1021:
1020:
1019:Life of Riley
1015:
1014:
1009:
1005:
1001:
997:
996:
991:
986:
984:
980:
979:
974:
970:
964:
962:
961:
956:
955:
950:
949:
944:
940:
939:
934:
933:
928:
924:
923:
918:
914:
910:
906:
901:
899:
898:
893:
889:
888:Dennis Potter
885:
884:
883:Same Old Song
879:
875:
874:Guy Peellaert
871:
866:
862:
858:
857:
848:
844:
842:
841:
836:
832:
828:
824:
820:
819:Pierre Arditi
816:
805:
802:
801:Henri Laborit
798:
794:
793:
788:
787:Ellen Burstyn
784:
780:
776:
772:
771:
765:
763:
759:
755:
754:
749:
745:
740:
738:
734:
724:
722:
718:
717:André Delvaux
714:
710:
706:
702:
698:
697:
696:Harry Dickson
690:
688:
684:
683:
676:
674:
673:
668:
664:
659:
655:
654:Jorge SemprĂșn
651:
647:
646:
641:
636:
634:
633:
628:
624:
619:
617:
613:
609:
605:
604:
599:
594:
592:
588:
587:
586:The 400 Blows
582:
578:
573:
569:
564:
560:
555:
554:
542:
540:
536:
535:
530:
526:
522:
518:
514:
510:
506:
502:
499:, Queneau in
498:
494:
488:
486:
482:
481:
475:
471:
470:
464:
462:
458:
457:
456:Night and Fog
452:
445:
441:
439:
438:
433:
429:
425:
421:
417:
416:
411:
406:
405:
400:
396:
380:
378:
374:
370:
364:
362:
358:
354:
353:
348:
344:
340:
335:
333:
329:
325:
324:
318:
308:
306:
302:
298:
294:
290:
289:Academy Award
285:
282:
280:
276:
272:
266:
264:
260:
259:Jorge SemprĂșn
256:
252:
248:
244:
240:
236:
232:
231:
226:
225:
219:
218:
211:
209:
205:
204:
203:Night and Fog
198:
190:
189:Alain Resnais
168:
161:
160:
138:
137:
135:
131:
127:
123:
116:
113:
110:
108:Film director
107:
106:
104:
100:
97:
94:
92:Resting place
90:
78:
74:
69:
56:
52:
45:
40:
36:Alain Resnais
33:
30:
19:
6936:
6928:
6911:
6882:
6874:
6866:
6858:
6850:
6842:
6834:
6826:
6818:
6712:Jean Douchet
6707:Jacques Demy
6673:
6669:Chris Marker
6664:Armand Gatti
6606:
6550:Brady Corbet
6532:Jane Campion
6457:Cai Shangjun
6415:
6386:Babak Payami
6288:Albert Serra
6173:
6012:Kate Winslet
5928:Meryl Streep
5904:Jeremy Irons
5873:2001âpresent
5773:Gregory Peck
5725:Sophia Loren
5620:René Clément
5586:
5575:Kirk Douglas
5545:Marcel Carné
5527:Jacques Tati
5316:Ermanno Olmi
5255:2001âpresent
5229:Sophia Loren
5187:Monica Vitti
5174:
5035:Satyajit Ray
5015:George Cukor
4997:Billy Wilder
4979:Marcel Carné
4969:Orson Welles
4899:Dominik Moll
4851:Xavier Dolan
4747:Denys Arcand
4723:Dominik Moll
4662:
4583:Ettore Scola
4534:
4527:Joseph Losey
4446:
4438:
4430:
4422:
4414:
4406:
4398:
4390:
4371:
4363:
4355:
4347:
4339:
4331:
4323:
4317:
4309:
4301:
4293:
4285:
4277:
4269:
4261:
4253:
4245:
4237:
4229:
4221:
4207:
4168:
4152:
4142:
4092:
4077:
4062:
4047:
4040:
4033:
4019:
4012:
4005:
3998:
3983:
3976:
3975:Armes, Roy.
3956:. Retrieved
3953:berlinale.de
3952:
3943:
3931:. Retrieved
3928:berlinale.de
3927:
3918:
3902:
3896:
3883:
3877:
3870:The Guardian
3869:
3861:
3844:
3838:
3830:
3825:
3816:
3807:
3799:
3794:
3786:The Guardian
3785:
3779:
3771:
3765:
3757:
3752:
3744:
3740:
3735:
3727:
3722:
3714:
3709:
3701:
3696:
3688:
3683:
3675:
3671:
3666:
3658:
3653:
3645:
3640:
3632:
3627:
3619:
3614:
3606:
3601:
3593:
3588:
3580:
3575:
3567:
3563:
3555:
3550:
3538:. Retrieved
3534:the original
3523:
3515:
3511:
3503:
3497:
3492:
3484:
3479:
3470:
3464:
3452:. Retrieved
3428:. Retrieved
3419:
3407:. Retrieved
3403:the original
3398:
3389:
3377:. Retrieved
3373:
3364:
3355:
3349:
3341:
3336:
3324:. Retrieved
3320:the original
3315:
3295:
3290:
3282:
3278:
3273:
3265:
3256:
3248:
3244:
3239:
3231:
3226:
3221:, May 2004 .
3210:
3204:
3196:The Guardian
3195:
3185:
3177:
3173:
3168:
3160:
3156:
3151:
3143:The Guardian
3142:
3125:
3120:
3112:
3107:
3099:
3095:
3090:
3082:
3077:
3065:
3061:
3045:
3040:
3032:The Guardian
3031:
3022:
3014:
3010:
3000:
2995:
2987:
2982:
2966:
2960:
2952:
2948:
2940:
2935:
2927:
2922:
2914:
2910:
2902:
2897:
2889:
2885:
2880:
2872:
2867:
2859:
2854:
2846:
2841:
2833:
2828:
2820:
2815:
2806:
2800:
2792:
2788:
2780:
2775:
2744:
2739:
2730:
2722:
2717:
2709:
2693:
2688:
2680:
2675:
2667:
2662:
2654:
2649:
2641:
2636:
2628:
2613:
2591:
2586:
2566:
2550:
2530:
2529:
2509:
2493:
2475:
2467:Uncredited.
2459:
2440:
2434:
2412:
2400:Chris Marker
2392:
2380:Remo Forlani
2372:
2353:
2347:
2335:Chris Marker
2328:
2320:
2302:
2282:
2270:Gaston Diehl
2264:
2256:Unfinished.
2221:
2195:Gaston Diehl
2189:
2174:
2147:Gaston Diehl
2138:
2111:Gaston Diehl
2104:
2087:
2048:Remo Forlani
2042:L'alcool tue
2040:
2024:
2010:
1996:
1982:
1968:
1954:
1940:
1925:
1910:
1895:
1883:Gaston Modot
1875:
1835:
1828:
1818:Jean Anouilh
1811:
1804:
1791:
1782:
1762:
1755:
1738:
1731:
1712:
1705:
1681:
1674:
1659:
1652:
1635:
1628:
1619:Jean Gruault
1613:
1604:
1595:Jean Gruault
1589:
1580:
1566:Jean Gruault
1560:
1553:
1544:David Mercer
1538:
1531:
1516:
1508:
1493:
1486:
1469:
1460:
1445:
1421:
1412:
1345:
1328:
1320:
1312:
1296:
1288:
1275:
1274:: 2004, for
1266:
1262:
1261:; 1993, for
1258:
1257:: 1966, for
1249:
1245:
1232:
1228:
1227:: 1954, for
1219:Gaston Diehl
1162:
1155:
1152:
1144:Sabine Azéma
1141:
1134:
1124:
1120:
1116:
1114:
1110:
1106:
1102:
1098:
1094:
1089:
1083:
1077:
1062:Chris Marker
1055:
1043:
1037:
1027:
1017:
1011:
1000:Jean Anouilh
993:
989:
987:
982:
976:
972:
968:
965:
958:
952:
946:
936:
930:
920:
916:
912:
908:
904:
902:
895:
891:
881:
877:
869:
860:
854:
852:
838:
834:
827:Fanny Ardant
815:Sabine Azéma
811:
796:
790:
783:Dirk Bogarde
779:John Gielgud
775:David Mercer
768:
766:
751:
743:
741:
736:
730:
709:Dirk Bogarde
693:
691:
680:
677:
670:
666:
657:
643:
639:
637:
630:
623:Algerian War
620:
601:
597:
595:
584:
580:
571:
558:
548:
538:
532:
524:
516:
513:Hanns Eisler
508:
500:
496:
495:, Cayrol in
492:
489:
478:
467:
465:
454:
450:
449:
435:
431:
428:Chris Marker
413:
409:
402:
391:
376:
372:
365:
350:
336:
332:André Breton
321:
314:
293:CĂ©sar Awards
286:
283:
279:Jean Anouilh
267:
238:
228:
227:(1961), and
222:
212:
201:
188:
187:
167:Sabine Azéma
114:screenwriter
81:(2014-03-01)
79:1 March 2014
29:
6965:2014 deaths
6960:1922 births
6778:André Bazin
6757:Roger Vadim
6742:Luc Moullet
6732:Louis Malle
6727:Pierre Kast
6684:AgnĂšs Varda
6654:Henri Colpi
6626:Ăric Rohmer
6156:AgnĂšs Jaoui
6144:Erick Zonca
5910:Claude Rich
5898:Anouk Aimée
5892:AgnĂšs Varda
5833:Johnny Depp
5761:Jean Carmet
5755:GĂ©rard Oury
5743:Jean Marais
5668:Bette Davis
5656:Alain Poiré
5557:Walt Disney
5304:David Lynch
5278:Omar Sharif
5262:Ăric Rohmer
5239:Jerry Lewis
5219:Alida Valli
5159:Woody Allen
5081:Joris Ivens
5011:Frank Capra
5007:Luis Buñuel
4963:Luis Buñuel
4615:Louis Malle
4591:Claude Zidi
4384:Short films
3933:29 December
3326:21 December
3260:Dave Kehr,
2901:Roy Armes,
2443:) â segment
2360:Jean Cayrol
2290:Paul Eluard
2232: [
2202: [
2154: [
2118: [
2055: [
1745:André Barde
1718:AgnĂšs Jaoui
1691:AgnĂšs Jaoui
1517:Stavisky...
1451:Jean Cayrol
1309:Silver Bear
1293:Silver Lion
1291:; and 2006
1285:Golden Lion
1238:CĂ©sar Award
1148:Scarborough
1066:Jean Cayrol
1058:AgnĂšs Varda
612:Golden Lion
529:AgnĂšs Varda
461:Jean Cayrol
424:Paul Ăluard
412:(1950) and
301:Golden Lion
247:Jean Cayrol
111:film editor
102:Occupations
64:3 June 1922
6954:Categories
6852:Breathless
6803:Jean Rouch
6404:Kim Ki-duk
6363:Zhang Yuan
6282:Leos Carax
6150:Luc Besson
6138:Luc Besson
5952:Hugh Grant
5946:Will Smith
5880:Darry Cowl
5515:Diana Ross
5452:Peter Weir
5378:Jane Fonda
5310:Tim Burton
5039:King Vidor
4891:Leos Carax
4699:Luc Besson
4357:Wild Grass
4320:(TV, 1992)
4271:Providence
3672:New Yorker
3540:14 October
2526:References
2460:Cinétracts
1792:Wild Grass
1539:Providence
1533:Providence
1342:Grand Prix
1246:Providence
1244:1977, for
1034:Reputation
1004:Palme d'Or
978:Wild Grass
969:L'Incident
770:Providence
328:surrealism
311:Early life
60:1922-06-03
6907:Auteurism
6812:Key films
6646:Left Bank
6609:Directors
6030:Sean Penn
5922:Spike Lee
5502:1976â2000
5268:Dino Risi
5153:Al Pacino
5149:Ken Loach
4975:John Ford
4956:1969â2000
3958:1 January
3884:Le Figaro
3471:Le Figaro
3113:The Times
2953:The Times
2496:â segment
2480:â segment
2462:â segment
2426:19 mins.
2404:18 mins.
2384:22 mins.
2364:32 mins.
2294:12 mins.
2274:11 mins.
2166:20 mins.
2130:20 mins.
1150:in 1998.
1121:Marienbad
905:Marienbad
808:1981â2014
737:Repérages
727:1969â1980
575:the 1959
566:novelist
545:1959â1968
243:Left Bank
128:1946â2014
6924:Jump cut
6884:La Jetée
5970:Jude Law
5328:John Woo
4400:Guernica
4392:Van Gogh
4318:Gershwin
4263:Stavisky
3907:Archived
3889:Archived
3409:19 April
3379:19 April
3215:Archived
3002:La Jetée
2971:Archived
2764:Archived
2510:Gershwin
2284:Guernica
2181:5 mins.
2140:Van Gogh
2105:Van Gogh
2026:La Bague
1510:Stavisky
1213:: 1950 (
1040:New Wave
913:Stavisky
870:Gershwin
753:Stavisky
701:Jean Ray
493:Guernica
415:Guernica
404:Van Gogh
395:Van Gogh
323:FantĂŽmas
299:and one
221:(1959),
70:, France
6895:Related
6276:MaĂŻwenn
6222:MaĂŻwenn
5408:Ann Hui
4141:in the
3741:Positif
3454:9 March
3430:9 March
3399:timeout
3279:Positif
3245:Positif
3174:Positif
3096:Positif
3005:, 1962.
2807:Haaretz
2477:L'An 01
2265:Gauguin
2190:Malfray
2096:1 min.
1283:: 1960
1240:: 1977
1006:at the
703:, with
614:at the
509:Gauguin
420:Picasso
410:Gauguin
303:at the
291:, two
193:French:
180:
172:
158:
150:
146:
133:Spouses
48:Resnais
18:Resnais
6887:(1962)
6879:(1962)
6871:(1962)
6863:(1961)
6855:(1960)
6847:(1959)
6839:(1959)
6831:(1958)
6823:(1956)
6552:(2024)
6546:(2023)
6540:(2022)
6534:(2021)
6528:(2020)
6511:(2019)
6505:(2018)
6499:(2017)
6493:(2016)
6483:(2015)
6477:(2014)
6471:(2013)
6465:(2012)
6459:(2011)
6453:(2010)
6436:(2009)
6430:(2008)
6424:(2007)
6418:(2006)
6412:(2005)
6406:(2004)
6400:(2003)
6394:(2002)
6388:(2001)
6382:(2000)
6365:(1999)
6359:(1998)
6353:(1990)
6296:(2024)
6290:(2023)
6284:(2022)
6278:(2021)
6272:(2020)
6266:(2019)
6260:(2018)
6254:(2017)
6248:(2016)
6242:(2015)
6236:(2014)
6230:(2013)
6224:(2012)
6218:(2011)
6212:(2010)
6206:(2009)
6200:(2008)
6194:(2007)
6188:(2006)
6182:(2005)
6176:(2004)
6170:(2003)
6164:(2002)
6158:(2001)
6152:(2000)
6146:(1999)
6140:(1998)
6134:(1997)
6128:(1996)
6074:(2024)
6068:(2023)
6062:(2022)
6056:(2019)
6050:(2018)
6044:(2017)
6038:(2016)
6032:(2015)
6026:(2014)
6020:(2013)
6014:(2012)
6008:(2011)
6002:(2010)
5996:(2009)
5990:(2008)
5984:(2008)
5978:(2008)
5972:(2007)
5966:(2007)
5960:(2006)
5954:(2006)
5948:(2005)
5942:(2005)
5936:(2004)
5930:(2003)
5924:(2003)
5918:(2003)
5912:(2002)
5906:(2002)
5900:(2002)
5894:(2001)
5888:(2001)
5882:(2001)
5865:(2000)
5859:(2000)
5853:(2000)
5847:(2000)
5841:(1999)
5835:(1999)
5829:(1999)
5823:(1998)
5817:(1998)
5811:(1998)
5805:(1997)
5799:(1997)
5793:(1996)
5787:(1996)
5781:(1995)
5775:(1995)
5769:(1995)
5763:(1994)
5757:(1993)
5751:(1993)
5745:(1993)
5739:(1992)
5733:(1992)
5727:(1991)
5721:(1991)
5715:(1990)
5709:(1989)
5703:(1989)
5697:(1988)
5691:(1987)
5685:(1986)
5676:(1986)
5670:(1986)
5664:(1986)
5658:(1985)
5652:(1985)
5646:(1985)
5640:(1985)
5634:(1984)
5628:(1984)
5622:(1984)
5616:(1983)
5610:(1982)
5601:(1982)
5595:(1982)
5589:(1981)
5583:(1981)
5577:(1980)
5571:(1980)
5565:(1980)
5559:(1979)
5553:(1979)
5547:(1979)
5541:(1978)
5535:(1978)
5529:(1977)
5523:(1977)
5517:(1976)
5511:(1976)
5454:(2024)
5444:(2023)
5434:(2022)
5424:(2021)
5414:(2020)
5404:(2019)
5394:(2018)
5384:(2017)
5374:(2016)
5364:(2015)
5358:(2014)
5348:(2013)
5342:(2012)
5336:(2011)
5330:(2010)
5324:(2009)
5318:(2008)
5312:(2007)
5306:(2006)
5300:(2005)
5290:(2004)
5280:(2003)
5270:(2002)
5264:(2001)
5247:(2000)
5241:(1999)
5235:(1998)
5221:(1997)
5207:(1996)
5189:(1995)
5155:(1994)
5141:(1993)
5123:(1992)
5109:(1991)
5099:(1990)
5089:(1989)
5083:(1988)
5077:(1987)
5067:(1986)
5061:(1985)
5055:(1983)
5049:(1982)
4999:(1972)
4985:(1971)
4971:(1970)
4965:(1969)
4443:(1958)
4435:(1956)
4427:(1956)
4419:(1953)
4403:(1950)
4395:(1948)
4376:(2014)
4368:(2012)
4360:(2009)
4352:(2006)
4344:(2003)
4336:(1997)
4328:(1993)
4314:(1989)
4306:(1986)
4298:(1984)
4290:(1983)
4282:(1980)
4274:(1977)
4266:(1974)
4258:(1968)
4250:(1966)
4242:(1963)
4239:Muriel
4234:(1961)
4226:(1959)
4099:
4084:
4069:
4054:
4026:
3990:
3852:
3374:Cannes
3052:
2598:
2143:(35mm)
2107:(16mm)
1867:Notes
1861:Title
1446:Muriel
1372:Title
1348:; and
1344:, for
1295:, for
1287:, for
1205:Awards
909:Muriel
821:, and
760:, and
632:Muriel
383:Career
317:Vannes
230:Muriel
68:Vannes
6519:2020s
6444:2010s
6373:2000s
6344:1990s
5614:Raimu
4151:, at
3264:, in
3193:) in
2531:Notes
2252:]
2210:]
2162:]
2126:]
2075:]
1858:Year
1757:CĆurs
1369:Year
1297:CĆurs
960:CĆurs
876:. In
767:With
658:about
572:about
357:IDHEC
174:(
170:
152:(
148:
4904:2024
4896:2023
4888:2022
4880:2021
4872:2020
4864:2019
4856:2018
4848:2017
4840:2016
4832:2015
4824:2014
4816:2013
4808:2012
4800:2011
4792:2010
4784:2009
4776:2008
4768:2007
4760:2006
4752:2005
4744:2004
4736:2003
4728:2002
4720:2001
4712:2000
4704:1999
4696:1998
4684:1997
4676:1996
4668:1995
4660:1994
4652:1993
4644:1992
4636:1991
4628:1990
4620:1989
4612:1988
4604:1987
4596:1986
4588:1985
4580:1984
4572:1983
4564:1982
4556:1981
4548:1980
4540:1979
4532:1978
4524:1977
4516:1976
4303:MĂ©lo
4134:IMDb
4097:ISBN
4082:ISBN
4067:ISBN
4052:ISBN
4024:ISBN
3988:ISBN
3960:2012
3935:2011
3850:ISBN
3542:2012
3456:2014
3432:2014
3411:2012
3381:2012
3328:2010
3050:ISBN
2596:ISBN
2506:1992
2490:1991
2472:1973
2456:1968
2431:1967
2409:1958
2389:1957
2369:1956
2344:1956
2317:1953
2299:1951
2279:1950
2261:1950
2218:1948
2186:1948
2171:1948
2135:1948
2101:1947
2084:1947
2037:1947
2021:1947
2007:1947
1993:1947
1979:1947
1965:1947
1951:1947
1937:1947
1922:1947
1907:1946
1892:1946
1872:1936
1825:2014
1801:2012
1779:2009
1752:2006
1728:2003
1702:1997
1671:1993
1649:1989
1636:MĂ©lo
1630:MĂ©lo
1625:1986
1601:1984
1577:1983
1550:1980
1528:1977
1505:1974
1483:1968
1457:1966
1433:1963
1409:1961
1383:1959
1350:2009
1339:1980
1325:2014
1317:1998
1311:for
1306:1994
1072:and
922:MĂ©lo
785:and
277:and
261:and
76:Died
54:Born
4166:at
4132:at
3868:in
1770:, (
1693:, (
1568:, (
1512:...
1042:or
1010:.
829:or
711:or
675:).
523:in
515:in
507:in
430:),
210:.
6956::
6489:/
5450:/
5440:/
5430:/
5420:/
5410:/
5400:/
5390:/
5380:/
5370:/
5354:/
5296:/
5286:/
5276:/
5231:/
5227:/
5217:/
5213:/
5203:/
5199:/
5195:/
5185:/
5181:/
5177:/
5173:/
5169:/
5165:/
5161:/
5151:/
5147:/
5137:/
5133:/
5129:/
5119:/
5115:/
5105:/
5095:/
5073:/
5045:/
5041:/
5037:/
5033:/
5029:/
5025:/
5021:/
5017:/
5013:/
5009:/
5005:/
4995:/
4991:/
4981:/
4977:/
4689:/
3951:.
3926:.
3815:.
3440:^
3397:.
3372:.
3314:.
3303:^
3133:^
3030:.
2977:.
2752:^
2701:^
2621:^
2606:^
2574:^
2558:^
2538:^
2250:no
2248:;
2246:ht
2244:;
2242:gl
2240:;
2238:fr
2236:;
2234:es
2208:fr
2206:;
2204:de
2197:,
2160:fr
2158:;
2156:de
2149:,
2124:fr
2122:;
2120:de
2113:,
2073:no
2071:;
2069:ht
2067:;
2065:gl
2063:;
2061:fr
2059:;
2057:es
2050:,
1844:)
1820:)
1774:)
1747:)
1720:,
1697:)
1689:,
1644:)
1572:)
1337::
1323:;
1315:;
1304::
1160:.
1068:,
1064:,
1060:,
1030:.
915:,
911:,
907:,
817:,
781:,
593:.
519:,
511:,
334:.
307:.
273:,
265:.
257:,
253:,
249:,
176:m.
154:m.
6591:e
6584:t
6577:v
6329:e
6322:t
6315:v
6107:e
6100:t
6093:v
5487:e
5480:t
5473:v
4941:e
4934:t
4927:v
4497:e
4490:t
4483:v
4199:e
4192:t
4185:v
4172:.
4155:.
4145:.
4103:.
4088:.
4073:.
4058:.
3994:.
3962:.
3937:.
3819:.
3544:.
3458:.
3434:.
3413:.
3383:.
3330:.
3056:.
2439:(
2356:)
2352:(
2331:)
2327:(
1743:(
1640:(
1331:.
992:(
975:(
894:(
880:(
859:(
837:(
795:(
669:(
642:(
600:(
583:(
561:(
453:(
434:(
237:(
191:(
62:)
58:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.