Seberg quotes books and ideas and names; Belmondo measures his profile against Bogart’s, pawns a stolen car, and talks his girlfriend into a cash loan ‘just till midday’. Oh, what could’ve been. One of Chabrol’s mid-period masterpieces, a brilliantly ambivalent scrutiny of bourgeois marriage and murder that juggles compassion and cynicism in a way that makes Hitchcock look obvious. Based on the real life of the father of French rapper Kamini, this French movie on Netflix follows the only African man in his graduating class from a French medical school. Death – and maybe the DMT – cause Oscar to revisit the events leading to his death. Superb. A new way to discover tv shows. Simone Signoret as the peroxide-blonde mistress is the harder of the two would-be killers, while Véra Clouzot is shivering and simpering as the wife. The film has been lavished with a multitude of awards, including the 2013 Palme d’Or for both the director and the two lead actresses. The opening of another of Jeunet and Caro’s forays into the fantastique is the perfect introduction to what’s essentially a hugely inventive blend of dream, fairytale and myth, and to a strange, sinister sea-girt world that functions according to its own crazy logic. Write CSS OR LESS and hit save. A subtle, breezy comedy of manners, Klapisch’s follow-up to ‘When the Cat’s Away...’ may not have quite the novelty and charm of that work, but otherwise it’s a fresh and unassuming treat. French films of 2019 See also. Just out of jail, afraid he can’t cut it in the underworld anymore, involved in an act of revenge that leaves him with a nasty taste in his mouth, Reggiani finds Crohem lurking in ambush when he takes on his next job. Hate. ‘Enter the Void’ is his third feature and it’s a kinetic attempt, with added special effects, to capture the spirit of a city, Tokyo, and a dead young American, Oscar (Nathaniel Brown), whose ghost floats about in a vaguely Buddhist manner after being shot dead by cops soon after smoking the drug DMT. Essentially, the plot is about an alibi, yet Melville turns this into a mythical revenge story, with Cathy Rosier as Delon’s black, piano-playing nemesis who might just as easily have stepped from the pages of Cocteau or Sophocles as Vogue. Despite its simplistic view of Napoleon himself – seen from childhood to the fascistic start of his empire-building as a ‘man of destiny’, guided through hardships and loneliness by his ‘inner eagle’ – the film is completely vindicated by Gance’s raving enthusiasm for his medium. Through the language of feelings and the body, the film presents a tableau of young French people who question their intimate relationships. For Jacques Audiard (‘A Self-Made Hero’, ‘The Beat That My Heart Skipped’), a master of the old-school French thriller, his fifth film offers the chance to pull off both a state-of-the-nation primal scream and a terrific crime flick. He spies a young blonde, Françoise (Marie-Christine Barrault), at church, who he determines to marry. Death – and maybe the DMT – cause Oscar to revisit the events leading to his death. The film gives us Jean-Louis (Jean-Louis Trintignant), a dapper 34-year-old engineer with a good line in wry, toothy smiles who works for Michelin in Clermont-Ferrand.