"All my life I've felt like I was here and somewhere else at the same time," says Weronika in Kryzysztof Kieslowski's film, The Double Life of Veronique. 10 years ago when I first watched this film, I didn't have enough life experience to truly understand the depth of her statement.
It's that time of the year again, when a super-packed schedule of French film premieres reigns at the Directors Guild of America in Los Angeles, where sold-out crowds of cinemaphiles, Francophones and Frenchies unite.
Infidelity comes up a lot in French films. Come to think of it, infidelity abounds in just about every film I've seen in recent memory. What's that about? Um, I think infidelity and its cousin, loyalty, must be on our collective minds.
All the Oscar talk about this year's Best Foreign Film, Amour, has me thinking about the many French films I watched during my yearlong experiment of importing certain French parenting lessons to use on my two daughters.
People know that I have a great love for cinema. Not just for commercial cinema, but for the "cinema d'auteur." But to me, two of the great "auteurs" are actually actors and they both happen to be French.
While playing a French historical character with the nickname of "le Balafré," or "the Scarred," Gaspard Ulliel also risked his own famous features during the shooting of highly realistic fight scenes.
In her new film, Let it Rain, French writer/director/actress Agnès Jaoui tackles race, class, gender, and politics in a dramedic kind of way. Oh, and she explains why The West Wing wouldn't fly in France.
Whether or not you personally love their work, it is difficult to dismiss the impact of the French New Wave. To reinforce this strongly held position, here is a pungent mix of Truffaut, Godard and Rohmer.