Alain Resnais - Knowledge

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.

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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 – 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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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 château 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

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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

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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

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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.3–4; 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 Cinéma, 2006). p.198: "Ce qui m'intéresse c'est de travailler non-avec des écrivains mais avec des gens de théâtre ... . C'est pourquoi cela ne m'a gêné de tourner une pièce, 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 établie par Stéphane Goudet. (Paris: Gallimard, 2002.) p.246: "... j'espère que ce film est drôle car je le vois comme un divertissement, macabre certes et noir, mais un divertissement tout de même." 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,

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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.

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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 1963–1964) 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.

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International Dictionary of Films and Filmmakers – 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".

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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."

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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

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International Dictionary of Films and Filmmakers – 2: Directors; 2nd ed., edited by Nicholas Thomas. (Chicago, London: St James Press, 1991.) pp.689–692.

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Another term which appears in commentaries on Resnais throughout his career is "surrealism", from his documentary portrait of a library in

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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 " 17: 4431: 2373: 468: 7044: 4246: 4190: 1462: 644: 287:

Throughout his career, he won many awards from international film festivals and academies, including one

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Resnais spent some time in America working on various unfulfilled projects, including one about the

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a fusion of fiction and documentary was developed which acknowledged the impossibility of speaking

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Resnais was more often associated with a "Left Bank" group of writers and filmmakers who included

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Resnais began making feature films in the late 1950s and consolidated his early reputation with

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Resnais was often linked with the group of French filmmakers who made their breakthrough as the

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Les Aventures de Harry Dickson: scénario ... pour un film (non réalisé) par Alain Resnais

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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

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Marie-Noëlle Tranchant. "Alain Resnais, prodige du cinéma français, est mort", in

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In his final two films, Resnais again drew his source material from the theatre.

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for many years, chose to adapt what appeared the most intractable of them,

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There are many references to the theatre throughout Resnais's filmmaking (

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was one of the teachers who had the most influence on him at that period.

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David Robinson, "Resnais's imaginative parallels of human behaviour", in

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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

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in Spain. Resnais's scriptwriter on this film was the Spanish author

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Resnais died in Neuilly-sur-Seine on 1 March 2014; he was buried in

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At the beginning of the 1960s France remained deeply divided by the

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Marienbad's "distilled surrealist poetry": Jonathan Rosenbaum, in

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in the online Bibliothèque du film of the Cinémathèque Française .

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Less Than Nothing: Hegel and the Shadow of Dialectical Materialism

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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

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On his religious views, he called himself a "mystical atheist".

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Centre d'Études des Littératures d'Expression Graphique (CELEG)

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for best director (he was nominated on eight occasions), three

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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 secrètes, 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: Chêne, 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 – Memory Battles in Postwar France

3596:. Paris: Paris: Éditions de La Martinière, 2013. p. 242. 3344:. Paris: Paris: Éditions de La Martinière, 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 secrètes, accords vagabonds

3726:Suzanne Liandrat-Guigues & Jean-Louis Leutrat, 3618:Resnais quoted in, and translated by, Emma Wilson, 3301: 3296:

Alain Resnais: liaisons secrètes, accords vagabonds

3294:Suzanne Liandrat-Guigues & Jean-Louis Leutrat, 2723:

Alain Resnais: liaisons secrètes, accords vagabonds

2721:Suzanne Liandrat-Guigues & Jean-Louis Leutrat, 2694:

Alain Resnais: liaisons secrètes, 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 Cinéma des Français: la V République 1958–1978 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 Cinéma, 2006). pp.176–177. 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. 966–967. 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: Éditions de La Martinière, 2013. . 3487:. (Malakoff: Armand Colin, 2016) pp.483–490. 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.186–187, p.223. 3502:, October 1966; quoted in Robert Benayoun, 3485:Alain Resnais: les coulisses de la création 3085:. (Paris: Ramsay, 2008.) p.143, pp.150–151. 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 Rôle of Imagination 3900:"Les deux adieux à Alain Resnais", in 3842:Philip Nord, "Heroes and Martyrs", in 3715:Alain Resnais: the Rôle of Imagination 3676:Alain Resnais: the Rôle of Imagination 3607:Alain Resnais: the Rôle of Imagination 2873:Alain Resnais: the Rôle of Imagination 2710:Alain Resnais: the Rôle of Imagination 2655:Alain Resnais: the Rôle 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 Lumières Award winners 4949:Golden Lion for Lifetime Achievement 3739:Interview (with Robert Benayoun) in 3527: 3234:. (Paris: Ramsay, 2008.) pp.206–207. 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.161–162. 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.57–59. 2793:The Oxford History of World Cinema 2783:. (Paris: Ramsay, 2008). pp.45–48. 2670:. (Paris: Ramsay, 2008). pp.22–25. 1123:, to the latterday playfulness of 25: 7071: 6970:Best Director César Award winners 4164:"Alain Resnais sur la côte 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:Lumières Award for Best Director 4451:("Claude Ridder" segment) (1967) 4114: 3312:"Festival de Cannes: Wild Grass" 3140:Interview with Gilbert Adair in 1361: 1272:Lumières Award for Best Director 1192: 1180: 1168: 1130: 7030:French male non-fiction writers 6980:César 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:Châteaux 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 Mystère 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:César 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 dernière à Marienbad 1365: 1289:L'Année dernière à Marienbad 1085:Le Club des bandes dessinées 807: 726: 598:L'Année dernière 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 à 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 à Lucien Coutaud 1830:Aimer, boire et chanter 1329:Aimer, boire et chanter 1013:Aimer, boire et chanter 579:, alongside Truffaut's 6919:Cinémathèque 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 à Félix 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:Bibliothèque nationale 447: 388:1946–1958: short films 224:Last Year at Marienbad 215: 7020:French film directors 5650:Christine Gouze-Rénal 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 à Hans Hartung 1887:10 mins. Unfinished. 1707:On connaît la chanson 1321:On connaît la chanson 1267:On connaît la chanson 1158:Montparnasse cemetery 878:On connaît la chanson 849: 744:L'An 01 (The Year 01) 721:Karlheinz Stockhausen 650:the Franco government 446: 352:Les Visiteurs du soir 343:Théâtre 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 styrène 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 styrène 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 styrène 503:); with musicians ( 501:Le Chant du styrène 480:Le Chant du styrène 255:Alain Robbe-Grillet 217:Hiroshima mon amour 7045:People from Vannes 6933:(2010 documentary) 6469:Alexandros Avranas 6451:Álex 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:[alɛ̃ʁɛnɛ] 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 Léaud 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 Feuillère 5604:Jean Nény (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:Gérard 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:Cédric Klapisch 6117: 6112: 6082: 6077: 6036:Michael Douglas 5982:Roberto Benigni 5940:Jacques Dutronc 5868: 5863:Martin Scorsese 5845:Josiane Balasko 5827:Pedro Almodóvar 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 Almodóvar 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:Straub–Huillet 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:Marlène 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:Michèle Morgan 5728: 5722: 5716: 5713:Gérard 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 Funès 5566: 5560: 5554: 5548: 5542: 5536: 5530: 5524: 5521:Henri Langlois 5518: 5512: 5509:Ingrid Bergman 5505: 5503: 5499: 5498: 5495:Honorary César 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:Michèle 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: 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1679: 1672: 1668: 1667: 1662: 1657: 1650: 1646: 1645: 1638: 1633: 1626: 1622: 1621: 1616: 1611: 1607:L'Amour à 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 à 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:Gérard 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:Miklós Jancsó 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: 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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 Semprún 1520: 1518: 1515: 1513: 1511: 1507: 1504: 1503: 1500: 1497: 1495: 1492: 1490: 1489: 1485: 1482: 1481: 1478: 1477:Jorge Semprún 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 Semprún 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 Semprún 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 5873:2001–present 5773:Gregory Peck 5725:Sophia Loren 5620:René Clément 5586: 5575:Kirk Douglas 5545:Marcel Carné 5527:Jacques Tati 5316:Ermanno Olmi 5255:2001–present 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:. 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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 5502:1976–2000 5268:Dino Risi 5153:Al Pacino 5149:Ken Loach 4975:John Ford 4956:1969–2000 3958:1 January 3884:Le Figaro 3471:Le Figaro 3113:The Times 2953:The Times 2496:– segment 2480:– segment 2462:– 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 808:1981–2014 737:Repérages 727:1969–1980 575:the 1959 566:novelist 545:1959–1968 243:Left Bank 128:1946–2014 6924:Jump cut 6884:La Jetée 5970:Jude Law 5328:John Woo 4400:Guernica 4392:Van Gogh 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