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Artistic, intellectual, and appreciably avant-garde, the French film industry has, perhaps more than any other national cinema, been perennially at the center of international filmmaking. With its vigorous business and wide-ranging film culture, France has also been home historically to some of the most influential filmmakers and movements - and, indeed, the very first motion picture was screened in Paris in This volume addresses the great directors and key artistic movements, but also ventures beyond these well-established films and figures, broadening the canon through an examination of many neglected but intriguing French films. Framing essays explore the salient stylistic elements, cultural contexts, and the various conceptions of cinema in France, from avant-gardes to filmmaking by women, from documentary and realism to the Tradition of Quality, as well as genres like comedy, crime film, and horror. Illustrated by screen shots, film reviews by leading international experts offer original approaches to both overlooked titles and acknowledged classics.
As the screen faded to black at the end of French director Catherine Breillat's new film, "Romance," it was impossible not to be overcome by mourning. It has nothing to do with the film's ending, which is indeed tragic, but not for the reasons Breillat may have intended. The response has to do with one undeniable, regrettable development. The sexy movie is dead. Breillat's film, which has the distinction of having raised eyebrows in France and opened recently in parts of Connecticut, has been hailed for its frank treatment of adult themes and explicit depiction of sexual acts.