Alain Resnais - Knowledge (XXG)

1171: 940:, 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 448:, 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 1159: 33: 1085:

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.)

3845:. 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." 433: 1183: 832:, 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. 607:, 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. 1093:

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.

918:'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 3667:. (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". 4105: 1092:

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

599:. 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 801:

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

778:. 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 649:

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

879:, 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 452:, 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. 991:, 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 728:, 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. 479:

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

234:" 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 396:

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

618:, 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 3706:. (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". 3287:. (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." 674:(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 189:; 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 1071:. 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, 1116:. 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". 952:(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. 3091:: 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." 889:, 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. 3736:: 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". 667:

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.

7048: 1011:, 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 465:

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

678:. 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. 1015:

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

4928: 3877: 6094: 861:(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 3680:, 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". 4484: 222:(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 2959: 3693:. (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". 712:

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.

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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.

624:(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. 273:

His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives.

3791:. (Paris: Ramsay, 2008.) p.143, p.39: "J'espère toujours demeurer fidèle à André Breton qui se refusait de considérer que la vie imaginaire ne fait pas partie de la réelle". 345: 4921: 2570:

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.

745:(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 7038: 6087: 1170: 6963: 970:, 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 974:

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.

3895: 6983: 6578: 4470: 3624:. (Paris: Larousse, 2005.) p.501: "Mes films sont une tentative, encore très imparfaite, d'approcher de la complexité de la pensée, de son mécanisme". 1182: 7018: 983: 7003: 4186: 1313: 1305: 1294: 1012: 4353: 1794: 2954: 6302: 1158: 4337: 4089: 4074: 4059: 4044: 4016: 3980: 2588: 1745: 948: 3257:, 8 April 2007: "As Mr. Resnais told a French interviewer, the effect he is after is one of 'désolation allègre,' a blithe, jaunty despair." 6978: 6973: 4937: 1104:

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

6907: 7008: 3203: 942: 1128:). She was a regular member of his production team, working as assistant director on most of his films from 1961 to 1986. 7028: 6571: 4299: 1642: 920: 645:, himself an ex-member of the Spanish Communist Party now in voluntary exile in France. Both men denied that the film was 3391: 7013: 4420: 4396: 2362: 2292: 1136: 852:, 1984). For this intense chamber work with four principal actors (Azéma, Arditi, Ardant and Dussollier), Resnais asked 457: 386:, to coincide with an exhibition that was being mounted in Paris. He filmed it at first in 16mm, but when the producer 7033: 4235: 4179: 1451: 633: 331: 3832: 6808: 6416: 5460: 5053: 4243: 1476: 780: 670: 3308: 4412: 4361: 3343: 2337: 1818: 1532: 1338: 1327: 1001: 996: 763: 444: 191: 6993: 6564: 3759: 3016: 2752: 196: 5638: 4127: 3890: 3801: 793:

Prix at the Cannes Film Festival, and it also proved to be one of Resnais's most successful with the public.

6776: 4775: 908:), but he first undertook the challenge of taking a complete stage work and giving it new cinematic life in 411:

painting based on the 1937 bombing of the town, and presented it to the accompaniment of a text written by

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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

2238: 2234: 2230: 2226: 2222: 2061: 2057: 2053: 2049: 2045: 1132: 1081:. CELEG members also included Resnais's artistic collaborators Marker and Robbe-Grillet. 803: 320: 281: 155: 3250: 3240:: anthologie établie par Stéphane Goudet. (Paris: Gallimard, 2002.) pp.405–406, 409–410. 681:

Throughout the 1960s, Resnais was attached to direct an international production called

429:, 1953), a polemic about the destruction of African art by French cultural colonialism. 6781: 6771: 6766: 6735: 6710: 6672: 6614: 6604: 6532: 6485: 6475: 6410: 6386: 6380: 6345: 6282: 6258: 6246: 6240: 6204: 6180: 6144: 6048: 6042: 6030: 5982: 5976: 5946: 5886: 5880: 5827: 5803: 5779: 5743: 5644: 5509: 5497: 5426: 5370: 5328: 5282: 5250: 5233: 5189: 5123: 5119: 5075: 5019: 5015: 4995: 4971: 4951: 4906: 4863: 4815: 4807: 4791: 4727: 4703: 4619: 4595: 4587: 4539: 4291: 2620:; edited by Ginette Vincendeau. (London: Cassell, British Film Institute, 1995.) p.358. 1830: 1760: 1733: 1706: 1683: 1679: 1226: 1213: 1046: 931: 819: 693: 551: 517: 493: 412: 259: 3358: 1124:

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,

3274:: anthologie établie par Stéphane Goudet. (Paris: Gallimard, 2002.) p.335. 3169:: anthologie établie par Stéphane Goudet. (Paris: Gallimard, 2002.) p.305. 892:

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

924:(1989), an ambitious theatrical adaptation followed with the diptych of 637:, 1966), this time the clandestine activities of left-wing opponents of 530:). Similar collaborations underpinned his future work in feature films. 344:), but he then decided in 1943 to apply to the newly formed film school 5396: 4118: 578:), and its success became associated with the emerging movement of the 356:

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

338:(and one of his small jobs at this time was as an extra in the film 2906:, ed. by Geoffrey Nowell-Smith. (Oxford: Oxford U.P., 1996.) p.577. 2784:, ed. by Geoffrey Nowell-Smith. (Oxford: Oxford U.P., 1996.) p.332. 6556: 5602: 3758:

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

3772:"Wild Grass, an authentic surrealist romance": Gilbert Adair in 3161:

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

739:, Resnais made a second collaboration with Jorge Semprun for 2490:

Contribution called "Pour Esteban Gonzalez Gonzalez, Cuba".

546:(1959). It originated as a commission from the producers of 270:, as well as films featuring various kinds of popular song. 3870:"Alain Resnais, prodige du cinéma français, est mort", in 595:, 1961), which he made in collaboration with the novelist 476:

who wrote the narration for the film in rhyming couplets.

390:

saw the results, Resnais was asked to remake it in 35mm.

4023:

Alain Resnais : liaisons secrètes, accords vagabonds

3988:

The Stream of Consciousness in the Films of Alain Resnais

3059:

article by Suzanne Liandrat-Guigues et Jean-Louis Leutrat

3057:. (Paris: Chêne, 1974.) For a study of the book, see the 360:, he persuaded him to appear in a 16mm surrealist short, 4156: 3834:

After the Deportation – Memory Battles in Postwar France

3585:. Paris: Paris: Éditions de La Martinière, 2013. p. 242. 3333:. Paris: Paris: Éditions de La Martinière, 2013. p. 234. 822:. The first four of these were among the large cast of 516:); and with other filmmakers (Resnais was the editor of 455:

A different kind of collective memory was considered in

3519:"Interview with Film Expert Karen Beckman on Animation" 842:

Music, very differently used, was a major component of

3295: 3293: 2834:

See the "Tableau des connivences" in Robert Benayoun,

1843: 1354: 708:

attached as the production designer, and the composer

4021:

Liandrat-Guigues, Suzanne, & Jean-Louis Leutrat.

1188:

Resnais's tomb at Montparnasse cemetery (division 4).

696:

as producer. The project was intended to star either

7049:

Institut des hautes études cinématographiques alumni

2877:, (Paris: Gallimard, 1960.); quoted by Emma Wilson, 2328:

30 mins. Co-written and directed with Chris Marker.

788:, 1980) in which the theories of the neurobiologist 6883: 6800: 6754: 6681: 6633: 6594: 6507: 6432: 6361: 6332: 5861: 5490: 5243: 4944: 4372: 4203: 3717:

Alain Resnais: liaisons secrètes, accords vagabonds

3715:Suzanne Liandrat-Guigues & Jean-Louis Leutrat, 3607:Resnais quoted in, and translated by, Emma Wilson, 3285:

Alain Resnais: liaisons secrètes, accords vagabonds

3283:Suzanne Liandrat-Guigues & Jean-Louis Leutrat, 2712:

Alain Resnais: liaisons secrètes, accords vagabonds

2710:Suzanne Liandrat-Guigues & Jean-Louis Leutrat, 2683:

Alain Resnais: liaisons secrètes, accords vagabonds

2681:Suzanne Liandrat-Guigues & Jean-Louis Leutrat, 1855: 1852: 1366: 472:. Poetry was brought to the project, literally, by 121: 113: 90: 80: 64: 42: 23: 3438:"Prizes of the International Jury. Berlinale 2014" 364:(now lost). A more ambitious feature-length work, 4084:. Manchester: Manchester University Press, 2006. 3006:, Claude Beylie. (Paris: Larousse, 2005.) p.211. 2930:Le Cinéma des Français: la V République 1958–1978 2605:, Claude Beylie. (Paris: Larousse, 2005.) p.501. 1785:Alex Reval, Laurent Herbiet, (Christian Gailly) 960:, a novel by Christian Gailly, as the basis for 7044:Golden Lion for Lifetime Achievement recipients 3637:. (Paris: Lettres Modernes, 1999.) p.114, p.200 3266:Interview with Resnais (by François Thomas) in 3232:Interview with Resnais (by François Thomas) in 3083:Interview with Resnais (by Robert Benayoun) in 2744: 2742: 2685:. (Paris: Cahiers du Cinéma, 2006). pp.176–177. 2894:. (London: Secker & Warburg, 1985.) p.184. 1176:Azéma and Resnais at the 2012 Cannes Festival. 654:, in a collective work about the Vietnam war, 6572: 6310: 6088: 5468: 4922: 4478: 4180: 3837:. (Cambridge University Press, 2020). p. 92. 3650:. (Manchester: Manchester U.P., 2006.) p.196. 3598:. (London: Secker & Warburg, 1978.) p.11. 3432: 3430: 3384:"Cannes Film Festival 2012 line-up announced" 3152:. (Manchester: Manchester U.P., 2006.) p.157. 2864:. (London: Secker & Warburg, 1978.) p.34. 2701:. (London: Secker & Warburg, 1978.) p.17. 2646:. (London: Secker & Warburg, 1978.) p.15. 2542:. (London: Macmillan, 1980.) p. 966–967. 930:(1993). Resnais, having admired the plays of 334:. From 1940 to 1942 he studied acting in the 319:and through that an interest in the works of 195:(1956), an influential documentary about the 8: 3997:. Paris: Éditions de La Martinière, 2013. . 3476:. (Malakoff: Armand Colin, 2016) pp.483–490. 3148:, 347 (1983) p.28; quoted by Emma Wilson in 2881:. (Manchester: Manchester U.P., 2006.) p.48. 2851:. (Manchester: Manchester U.P., 2006.) p.48. 2748:Academy of Motion Picture Arts and Sciences 1425: 1384: 1375: 1037: 875:, 1997), his tribute to television works of 539: 203: 4052:Alain Resnais: les coulisses de la création 3663:, 31 January 1977; quoted by James Monaco, 3611:. (Manchester: Manchester U.P., 2006.) p.1. 3572:. (Paris: Ramsay, 2008.) pp.186–187, p.223. 3491:, October 1966; quoted in Robert Benayoun, 3474:Alain Resnais: les coulisses de la création 3074:. (Paris: Ramsay, 2008.) p.143, pp.150–151. 2693: 2691: 2633:. (Manchester: Manchester U.P., 2006.) p.2. 2598: 2596: 6579: 6565: 6557: 6317: 6303: 6295: 6095: 6081: 6073: 5475: 5461: 5453: 4929: 4915: 4907: 4485: 4471: 4463: 4450: 4187: 4173: 4165: 3719:. (Paris: Cahiers du Cinéma, 2006). p.136. 2919:. (Paris: Ramsay, 2008). p.84, p.88, p.85. 2714:. (Paris: Cahiers du Cinéma, 2006). p.180. 31: 20: 4067:Trente ans avec Alain Resnais: entretiens 3789:Alain Resnais: arpenteur de l'imagination 3570:Alain Resnais: arpenteur de l'imagination 3493:Alain Resnais: arpenteur de l'imagination 3251:"Restless Innovations from Alain Resnais" 3221:Alain Resnais: arpenteur de l'imagination 3115:Alain Resnais: arpenteur de l'imagination 3072:Alain Resnais: arpenteur de l'imagination 2979:. (Paris: Lettres Modernes, 1999.) p.114. 2956:The 60s: The Festival and the Film Market 2917:Alain Resnais: arpenteur de l'imagination 2836:Alain Resnais: arpenteur de l'imagination 2823:Alain Resnais: arpenteur de l'imagination 2770:Alain Resnais: arpenteur de l'imagination 2734:Alain Resnais: arpenteur de l'imagination 2670:Alain Resnais: arpenteur de l'imagination 2657:Alain Resnais: arpenteur de l'imagination 2566: 2564: 2301:One of seven segments in US documentary. 7039:Venice Best Director Silver Lion winners 3973:Alain Resnais: arpenteur de l'imaginaire 3659:Pauline Kael, "Werewolf, mon amour", in 3125: 3123: 2944:(London), 1 September 1966, p.11, col.F. 2613: 2611: 2556:The Explosion of World Cinema in the 60s 4069:. : Les Impressions Nouvelles, 2022. . 3749:. (London: Little, Brown, 2002.) p.729. 3747:The New Biographical Dictionary of Film 3691:The New Biographical Dictionary of Film 3270:, no.307, septembre 1993; reprinted in 2550: 2548: 2524: 1154: 1108:, through the dreamlike innovations of 1013:64th Berlin International Film Festival 735:(1973), a collective film organised by 4030:Alain Resnais: the Rôle of Imagination 3889:"Les deux adieux à Alain Resnais", in 3831:Philip Nord, "Heroes and Martyrs", in 3704:Alain Resnais: the Rôle of Imagination 3665:Alain Resnais: the Rôle of Imagination 3596:Alain Resnais: the Rôle of Imagination 2862:Alain Resnais: the Rôle of Imagination 2699:Alain Resnais: the Rôle of Imagination 2644:Alain Resnais: the Rôle of Imagination 2534: 2532: 2530: 2528: 2000:Journée naturelle (Visite à Max Ernst) 987:, 2012) was adapted from two plays by 315:. Around the age of 14, he discovered 6989:European Film Awards winners (people) 4032:. London: Secker & Warburg, 1978. 3990:. New York: McGruer Publishing, 1997. 3165:, no.284, octobre 1984; reprinted in 3087:, no.190, février 1977; reprinted in 2068:Director credited as Alzin Rezarail. 348:to study film editing. The filmmaker 184: 7: 6964:Best Director Lumières Award winners 4938:Golden Lion for Lifetime Achievement 3728:Interview (with Robert Benayoun) in 3223:. (Paris: Ramsay, 2008.) pp.206–207. 526:, and co-directed with Chris Marker 4158:Sonuma: les archives audiovisuelles 4054:. Malakoff: Armand Colin, 2016. . 4025:. Paris: Cahiers du Cinéma, 2006. . 2932:. (Paris: Stock, 1979.) pp.161–162. 2540:The International Film Encyclopedia 1316:Silver Bear Alfred Bauer Prize for 946:to which he gave the film title of 368:, has also vanished without trace. 3732:, no.190, février 1977; quoted in 3236:, no.394, déc. 1993; reprinted in 2904:The Oxford History of World Cinema 2825:. (Paris: Ramsay, 2008). pp.57–59. 2782:The Oxford History of World Cinema 2772:. (Paris: Ramsay, 2008). pp.45–48. 2659:. (Paris: Ramsay, 2008). pp.22–25. 1112:, to the latterday playfulness of 14: 6959:Best Director César Award winners 4153:"Alain Resnais sur la côte belge" 4138:Analysis of several Resnais films 3822:. (London: Europa, 2004.) p.1401. 3547:. (Paris: Larousse, 2005.) p.501. 3414:"Berlinale programme description" 3342:Festival de Cannes press kit for 731:After contributing an episode to 538:Resnais's first feature film was 145: 1969, divorced) 6984:Directors of Golden Lion winners 6104:Lumières Award for Best Director 4440:("Claude Ridder" segment) (1967) 4103: 3301:"Festival de Cannes: Wild Grass" 3129:Interview with Gilbert Adair in 1261:Lumières Award for Best Director 1181: 1169: 1157: 7019:French male non-fiction writers 6969:César Honorary Award recipients 3938:"Berlinale: 1998 Prize Winners" 3913:"Berlinale: 1994 Prize Winners" 3818:Dates of marriages recorded in 3622:Une histoire du cinéma français 3545:Une histoire du cinéma français 3117:. (Paris: Ramsay, 2008.) p.252. 3004:Une histoire du cinéma français 2838:. (Paris: Ramsay, 2008). p.210. 2618:Encyclopedia of European Cinema 2603:Une histoire du cinéma français 2583:. (London: Verso, 2012). p.28. 2164:Châteaux de France (Versailles) 704:as the titular detective, with 164: 142: 7004:French experimental filmmakers 4338:Private Fears in Public Places 3495:. (Paris: Ramsay, 2008.) p.77. 2812:. (Paris: Seuil, 1983.) p.218. 2736:. (Paris: Ramsay, 2008). p.42. 2672:. (Paris: Ramsay, 2008). p.29. 2558:. (London: Faber, 2004.) p.67. 2383:Le Mystère de l'atelier quinze 1900:Ouvert pour cause d'inventaire 1829:Laurent Herbiet, Alex Reval, ( 1805:Laurent Herbiet, Alex Reval, ( 1752:Private Fears in Public Places 1428:Muriel ou le Temps d'un retour 1237:; and 1993 Best Director, for 943:Private Fears in Public Places 366:Ouvert pour cause d'inventaire 1: 6326:Silver Lion for Best Director 4494:César Award for Best Director 4039:. Paris: Flammarion, 1989. . 3517:Cole, Blake (30 April 2012). 3104:(London), 12 Sept. 1980, p.8. 1341:, Lifetime achievement award. 1077:, renamed two years later as 4397:Pictura: An Adventure in Art 3820:International Who's Who 2004 3635:L'Itinéraire d'Alain Resnais 3037:. (Nantes: Capricci, 2007.) 2977:L'Itinéraire d'Alain Resnais 2759:. Retrieved 21 January 2018] 2293:Pictura: An Adventure in Art 1404:L'Année dernière à Marienbad 1278:L'Année dernière à Marienbad 1074:Le Club des bandes dessinées 587:L'Année dernière à Marienbad 304:Resnais was born in 1922 at 6979:Counterculture of the 1960s 6974:Counterculture of the 1950s 4354:You Ain't Seen Nothin' Yet! 3966:The Cinema of Alain Resnais 3017:"Dreaming of Harry Dickson" 1885:Schéma d'une identification 1801:You Ain't Seen Nothin' Yet! 1411:Last Year at (in) Marienbad 984:You Ain't Seen Nothin' Yet! 814:, sometimes accompanied by 766:, and a cast that included 407:(1950), which examined the 362:Schéma d'une identification 7065: 6417:Aleksei Alekseivich German 5054:Paolo and Vittorio Taviani 4132:New Wave Film Encyclopedia 3345:Vous n'avez encore rien vu 1795:Vous n'avez encore rien vu 1042:, his first feature film. 979:Vous n'avez encore rien vu 688:, based on the stories by 7024:French male screenwriters 6110: 4500: 4460: 4421:Toute la mémoire du monde 4037:L'Atelier d'Alain Resnais 4009:Alain Resnais: Interviews 4002:Alain Resnais: anthologie 3975:. Paris: Ramsay, 2008. . 3880:at the Wayback Machine.) 3802:"Florence Malraux au CNC" 3620:Quoted in Claude Beylie, 3359:"2012 Official Selection" 3033:Towarnicki, Frédéric de, 2440:"Claude Ridder" segment. 2363:Toute la mémoire du monde 2312:Les statues meurent aussi 1849: 1363: 1360: 1218:Les statues meurent aussi 1106:Toute la mémoire du monde 1017:Arrivals & Departures 997:2012 Cannes Film Festival 914:(1986), an adaptation of 528:Les statues meurent aussi 458:Toute la mémoire du monde 421:Les statues meurent aussi 75:Neuilly-sur-Seine, France 30: 4455:Awards for Alain Resnais 4400:(Gauguin segment) (1951) 4004:Paris: Gallimard, 2002. 3968:. London: Zwemmer, 1968. 3206:28 November 2010 at the 1915:Visite à Oscar Dominguez 1846: 1357: 1346:Filmography, as director 585:Resnais's next film was 197:Nazi concentration camps 6999:French cinematographers 6777:Jacques Doniol-Valcroze 3348:. Retrieved 2012-05-22. 2988:See also Chris Marker, 2928:Jean-Pierre Jeancolas, 1930:Visite à Lucien Coutaud 1819:Aimer, boire et chanter 1318:Aimer, boire et chanter 1002:Aimer, boire et chanter 568:, alongside Truffaut's 6908:Cinémathèque Française 6849:Last Year at Marienbad 6755:Theoretical influences 5042:Michelangelo Antonioni 4276:Life Is a Bed of Roses 4220:Last Year at Marienbad 3557:The French Cinema Book 3505:The French Cinema Book 3197:Ginette Vincendeau in 2810:Dictionnaire des films 2474:New York scenes only. 1986:Portrait d'Henri Goetz 1958:Visite à Félix Labisse 1921:30 mins. Uncompleted. 1579:Life Is a Bed of Roses 1426: 1385: 1376: 1038: 839: 829:Life Is a Bed of Roses 592:Last Year at Marienbad 570:Les Quatre Cents Coups 540: 463:Bibliothèque nationale 436: 377:1946–1958: short films 213:Last Year at Marienbad 204: 7009:French film directors 5639:Christine Gouze-Rénal 5615:Georges de Beauregard 4532:Christian de Chalonge 3898:22 March 2014 at the 3892:Le Nouvel Observateur 1972:Visite à César Doméla 1944:Visite à Hans Hartung 1876:10 mins. Unfinished. 1696:On connaît la chanson 1310:On connaît la chanson 1256:On connaît la chanson 1147:Montparnasse cemetery 867:On connaît la chanson 838: 733:L'An 01 (The Year 01) 710:Karlheinz Stockhausen 639:the Franco government 435: 341:Les Visiteurs du soir 332:Théâtre des Mathurins 85:Montparnasse Cemetery 7029:French screenwriters 6787:Joseph-Marie Lo Duca 6726:Jean-Pierre Melville 6452:Paul Thomas Anderson 6229:Abderrahmane Sissako 5738:Marcello Mastroianni 5668:René Ferracci (1986) 5588:Alexandre Mnouchkine 5102:Francis Ford Coppola 5086:Marcello Mastroianni 5064:Joseph L. Mankiewicz 4824:Abderrahmane Sissako 4776:Jean-François Richet 4244:Je t'aime, je t'aime 4142:Strictly Film School 2755:23 July 2008 at the 2212:Les Jardins de Paris 1544:Mon oncle d'Amérique 1483:Je t'aime, je t'aime 1477:Je t'aime, je t'aime 1335:Mon oncle d'Amérique 1324:Cannes Film Festival 1291:Berlin Film Festival 1270:Venice Film Festival 1210:and Robert Haessens. 1164:Sabine Azéma (1996). 1131:His second wife was 906:Mon oncle d'Amérique 781:Mon oncle d'Amérique 724:. He also published 671:Je t'aime, je t'aime 616:Manifesto of the 121 605:Venice Film Festival 566:Cannes Film Festival 294:Venice Film Festival 16:French film director 7014:French film editors 6833:Hiroshima mon amour 6668:Alain Robbe-Grillet 6480:Andrei Konchalovsky 6464:Andrei Konchalovsky 6223:Abdellatif Kechiche 6187:Abdellatif Kechiche 5431:Tony Leung Chiu-wai 5134:Suso Cecchi d'Amico 4992:Alessandro Blasetti 4800:Michel Hazanavicius 4768:Abdellatif Kechiche 4744:Abdellatif Kechiche 4628:Jean-Paul Rappeneau 4612:Jean-Jacques Annaud 4556:Jean-Jacques Annaud 4429:Le Chant du styrène 4212:Hiroshima mon amour 3525:on 6 September 2015 3394:on 20 December 2012 3305:festival-cannes.com 3188:, 27 November 1998. 2962:8 July 2011 at the 2875:Hiroshima mon amour 2404:Le Chant du styrène 1572:La vie est un roman 1452:La guerre est finie 1416:Alain Robbe-Grillet 1386:Hiroshima mon amour 1378:Hiroshima mon amour 1248:La guerre est finie 1204:22nd Oscar ceremony 1063:Alain Robbe-Grillet 1039:Hiroshima mon amour 824:La vie est un roman 629:La guerre est finie 597:Alain Robbe-Grillet 542:Hiroshima mon amour 514:Le Chant du styrène 492:); with musicians ( 490:Le Chant du styrène 469:Le Chant du styrène 244:Alain Robbe-Grillet 206:Hiroshima mon amour 7034:People from Vannes 6922:(2010 documentary) 6458:Alexandros Avranas 6440:Álex de la Iglesia 6369:Buddhadeb Dasgupta 6169:Jean-Pierre Jeunet 6013:Scarlett Johansson 5875:Charlotte Rampling 5726:Sylvester Stallone 5708:Jean-Pierre Aumont 5552:Pierre Braunberger 5357:Jean-Paul Belmondo 5351:Bertrand Tavernier 5341:Thelma Schoonmaker 5287:Stefania Sandrelli 5273:Manoel de Oliveira 5263:Dino De Laurentiis 5152:Giuseppe De Santis 5096:Gian Maria Volonté 4720:Jean-Pierre Jeunet 4680:Bertrand Tavernier 4508:Bertrand Tavernier 4314:Smoking/No Smoking 4195:Films directed by 4065:Thomas, François. 4050:Thomas, François. 4035:Thomas, François. 4007:Higgins, Lynne A. 4000:Goudet, Stéphane. 3971:Benayoun, Robert. 3311:on 26 October 2014 3255:The New York Times 3023:. 22 January 2008. 2508:TV film. 52 mins. 2338:Nuit et Brouillard 1671:Smoking/No Smoking 1665:Smoking/No Smoking 1302:Smoking/No Smoking 1252:Smoking/No Smoking 1239:Smoking/No Smoking 1222:Nuit et Brouillard 937:Intimate Exchanges 927:Smoking/No Smoking 840: 751:Jean-Paul Belmondo 614:, and in 1960 the 548:Nuit et Brouillard 506:Nuit et Brouillard 486:Nuit et Brouillard 440:Nuit et Brouillard 437: 388:Pierre Braunberger 330:'s company at the 286:Louis Delluc Prize 186:[alɛ̃ʁɛnɛ] 6936: 6935: 6902:Cahiers du Cinéma 6809:Le Coup du Berger 6691:Philippe de Broca 6625:François Truffaut 6596:Cahiers du Cinéma 6554: 6553: 6548: 6547: 6292: 6291: 6235:Arnaud Desplechin 6193:François Dupeyron 6115:Mathieu Kassovitz 6070: 6069: 6061:Christopher Nolan 5995:Quentin Tarantino 5905:Bernadette Lafont 5846:Jean-Pierre Léaud 5633:Danielle Darrieux 5582:Georges Dancigers 5450: 5449: 5417:Catherine Deneuve 5361:Jerzy Skolimowski 5345:Frederick Wiseman 5156:Goffredo Lombardo 5116:Claudia Cardinale 4904: 4903: 4894: 4886: 4878: 4870: 4862: 4854: 4846: 4838: 4832:Arnaud Desplechin 4830: 4822: 4814: 4806: 4798: 4790: 4782: 4774: 4766: 4758: 4750: 4742: 4734: 4726: 4718: 4710: 4702: 4694: 4686: 4674: 4666: 4658: 4650: 4642: 4634: 4626: 4618: 4610: 4602: 4594: 4586: 4578: 4570: 4562: 4554: 4548:François Truffaut 4546: 4538: 4530: 4522: 4514: 4506: 4447: 4446: 4300:I Want to Go Home 4268:My American Uncle 4128:Resnais biography 4090:978-0-7190-6407-4 4075:978-2-87449-961-6 4060:978-2-200-61616-8 4045:978-2-08-211408-0 4017:978-1-4968-3393-8 3993:Douin, Jean-Luc. 3981:978-2-84114-928-5 3787:Robert Benayoun, 3568:Robert Benayoun, 3488:Films and Filming 3485:A. Adrian Maben, 3472:François Thomas. 3219:Robert Benayoun, 3200:Sight & Sound 3146:Cahiers du Cinéma 3113:Robert Benayoun, 3070:Robert Benayoun, 2953:Ville de Cannes, 2915:Robert Benayoun, 2821:Robert Benayoun, 2768:Robert Benayoun, 2732:Robert Benayoun, 2668:Robert Benayoun, 2655:Robert Benayoun, 2589:978-1-84467-897-6 2512: 2511: 2436:Jacques Sternberg 2296:(Gauguin segment) 1866:L'Aventure de Guy 1837: 1836: 1774:Les Herbes folles 1757:Jean-Michel Ribes 1722:Pas sur la bouche 1711:Jean-Pierre Bacri 1676:Jean-Pierre Bacri 1649:I Want to Go Home 1643:I Want to Go Home 1550:My American Uncle 1488:Jacques Sternberg 1308:Silver Bear, for 1265:Pas sur la bouche 1244:Prix Louis-Delluc 1114:Les Herbes folles 972:Les Herbes folles 962:Les Herbes folles 921:I Want to Go Home 881:Pas sur la bouche 854:Hans Werner Henze 786:My American Uncle 683:Les Aventures de 676:Jacques Sternberg 252:Jacques Sternberg 228:la nouvelle vague 175: 174: 114:Years active 7056: 6891:Arthouse musical 6865:Cléo from 5 to 7 6762:Alexandre Astruc 6683:Other filmmakers 6648:Marguerite Duras 6581: 6574: 6567: 6558: 6515:Kiyoshi Kurosawa 6319: 6312: 6305: 6296: 6097: 6090: 6083: 6074: 5923:Micheline Presle 5840:Georges Cravenne 5786:Charles Aznavour 5768:Steven Spielberg 5621:Edwige Feuillère 5593:Jean Nény (1982) 5477: 5470: 5463: 5454: 5437:Sigourney Weaver 5411:Jamie Lee Curtis 5381:Vanessa Redgrave 5377:David Cronenberg 5335:William Friedkin 5323:Marco Bellocchio 5200:Gérard Depardieu 5186:Vittorio Gassman 5128:Steven Spielberg 5048:Federico Fellini 5036:Cesare Zavattini 5032:Sergei Yutkevich 4982:Anatoli Golovnya 4931: 4924: 4917: 4908: 4892: 4884: 4876: 4868: 4860: 4852: 4844: 4836: 4828: 4820: 4812: 4804: 4796: 4788: 4780: 4772: 4764: 4756: 4748: 4740: 4732: 4724: 4716: 4708: 4700: 4692: 4684: 4672: 4664: 4656: 4648: 4640: 4632: 4624: 4616: 4608: 4600: 4592: 4584: 4576: 4568: 4560: 4552: 4544: 4536: 4528: 4520: 4512: 4504: 4487: 4480: 4473: 4464: 4451: 4437:Far from Vietnam 4405:Statues Also Die 4189: 4182: 4175: 4166: 4148:NYTimes obituary 4113: 4111:Biography portal 4108: 4107: 4106: 3953: 3952: 3950: 3948: 3934: 3928: 3927: 3925: 3923: 3909: 3903: 3902:, 11 mars 2014. 3887: 3881: 3876:, 2 mars 2014. ( 3868: 3862: 3861:, 2 March 2014. 3852: 3846: 3829: 3823: 3816: 3810: 3809: 3798: 3792: 3785: 3779: 3770: 3764: 3756: 3750: 3743: 3737: 3726: 3720: 3713: 3707: 3700: 3694: 3687: 3681: 3674: 3668: 3657: 3651: 3644: 3638: 3631: 3625: 3618: 3612: 3605: 3599: 3592: 3586: 3581:Jean-Luc Douin, 3579: 3573: 3566: 3560: 3554: 3548: 3541: 3535: 3534: 3532: 3530: 3514: 3508: 3502: 3496: 3483: 3477: 3470: 3464: 3455: 3449: 3448: 3446: 3444: 3434: 3425: 3424: 3422: 3420: 3410: 3404: 3403: 3401: 3399: 3390:. Archived from 3380: 3374: 3373: 3371: 3369: 3355: 3349: 3340: 3334: 3329:Jean-Luc Douin, 3327: 3321: 3320: 3318: 3316: 3307:. Archived from 3297: 3288: 3281: 3275: 3264: 3258: 3247: 3241: 3230: 3224: 3217: 3211: 3195: 3189: 3178:Interview (with 3176: 3170: 3159: 3153: 3142: 3136: 3127: 3118: 3111: 3105: 3098: 3092: 3081: 3075: 3068: 3062: 3052: 3046: 3031: 3025: 3024: 3013: 3007: 3001: 2995: 2986: 2980: 2973: 2967: 2951: 2945: 2939: 2933: 2926: 2920: 2913: 2907: 2901: 2895: 2888: 2882: 2871: 2865: 2858: 2852: 2845: 2839: 2832: 2826: 2819: 2813: 2808:Georges Sadoul, 2806: 2800: 2799:, 3 March 2014. 2791: 2785: 2779: 2773: 2766: 2760: 2746: 2737: 2730: 2724: 2721: 2715: 2708: 2702: 2695: 2686: 2679: 2673: 2666: 2660: 2653: 2647: 2640: 2634: 2627: 2621: 2615: 2606: 2600: 2591: 2577: 2571: 2568: 2559: 2552: 2543: 2536: 2504:Edward Jablonski 2467: 2430:Far from Vietnam 2406: 2384: 2318:Statues Also Die 2314: 2242: 2218:Roland Dubillard 2213: 2200: 2152: 2116: 2079: 2065: 2041:Roland Dubillard 2032: 2016: 1867: 1844: 1840:Short films etc. 1776: 1598: 1574: 1461: 1454: 1431: 1406: 1392:Marguerite Duras 1388: 1381: 1355: 1254:; and 1997, for 1220:; and 1956, for 1185: 1173: 1161: 1059:Marguerite Duras 1041: 812:André Dussollier 747:Stephen Sondheim 702:Laurence Olivier 661:Far from Vietnam 557:Marguerite Duras 545: 523:La Pointe courte 426:Statues Also Die 336:Cours René-Simon 240:Marguerite Duras 209: 188: 183: 168: 166: 146: 144: 132:Florence Malraux 71: 52: 50: 35: 21: 7064: 7063: 7059: 7058: 7057: 7055: 7054: 7053: 6994:French atheists 6939: 6938: 6937: 6932: 6927:Trouver Frisson 6919:Two in the Wave 6879: 6796: 6750: 6677: 6629: 6620:Jacques Rivette 6610:Jean-Luc Godard 6590: 6588:French New Wave 6585: 6555: 6550: 6549: 6544: 6527:Luca Guadagnino 6503: 6492:Jacques Audiard 6428: 6399:Philippe Garrel 6357: 6340:Martin Scorsese 6328: 6323: 6293: 6288: 6253:Jacques Audiard 6217:Jacques Audiard 6199:Jacques Audiard 6175:Philippe Garrel 6151:Patrice Chéreau 6121:Cédric Klapisch 6106: 6101: 6071: 6066: 6025:Michael Douglas 5971:Roberto Benigni 5929:Jacques Dutronc 5857: 5852:Martin Scorsese 5834:Josiane Balasko 5816:Pedro Almodóvar 5810:Jean-Luc Godard 5798:Michael Douglas 5792:Andie MacDowell 5684:Serge Silberman 5678:Jean-Luc Godard 5672:Claude Lanzmann 5627:Christian-Jaque 5522:Robert Dorfmann 5486: 5481: 5451: 5446: 5407:Roberto Benigni 5387:Pedro Almodóvar 5239: 5204:Stanley Kubrick 5168:Martin Scorsese 5160:Ennio Morricone 5110:Paolo Villaggio 5092:Mario Monicelli 5060:Luigi Comencini 5012:Alexander Kluge 5008:Jean-Luc Godard 4978:Charlie Chaplin 4940: 4935: 4905: 4900: 4872:Albert Dupontel 4856:Jacques Audiard 4848:Albert Dupontel 4784:Jacques Audiard 4760:Guillaume Canet 4752:Jacques Audiard 4696:Patrice Chéreau 4676:Patrice Leconte 4496: 4491: 4456: 4448: 4443: 4368: 4330:Not on the Lips 4284:Love Unto Death 4236:The War Is Over 4199: 4193: 4109: 4104: 4102: 4099: 4028:Monaco, James. 3961: 3959:Further reading 3956: 3946: 3944: 3936: 3935: 3931: 3921: 3919: 3911: 3910: 3906: 3900:Wayback Machine 3888: 3884: 3869: 3865: 3855:Obituary notice 3853: 3849: 3830: 3826: 3817: 3813: 3800: 3799: 3795: 3786: 3782: 3778:, 22 June 2010. 3771: 3767: 3757: 3753: 3744: 3740: 3727: 3723: 3714: 3710: 3701: 3697: 3689:David Thomson, 3688: 3684: 3675: 3671: 3658: 3654: 3645: 3641: 3632: 3628: 3619: 3615: 3606: 3602: 3593: 3589: 3580: 3576: 3567: 3563: 3555: 3551: 3543:Claude Beylie, 3542: 3538: 3528: 3526: 3516: 3515: 3511: 3503: 3499: 3484: 3480: 3471: 3467: 3463:, 3 mars 2014. 3456: 3452: 3442: 3440: 3436: 3435: 3428: 3418: 3416: 3412: 3411: 3407: 3397: 3395: 3382: 3381: 3377: 3367: 3365: 3357: 3356: 3352: 3341: 3337: 3328: 3324: 3314: 3312: 3299: 3298: 3291: 3282: 3278: 3265: 3261: 3248: 3244: 3231: 3227: 3218: 3214: 3208:Wayback Machine 3196: 3192: 3177: 3173: 3160: 3156: 3143: 3139: 3135:, 22 June 2010. 3128: 3121: 3112: 3108: 3099: 3095: 3082: 3078: 3069: 3065: 3053: 3049: 3032: 3028: 3015: 3014: 3010: 3002: 2998: 2987: 2983: 2974: 2970: 2964:Wayback Machine 2952: 2948: 2940: 2936: 2927: 2923: 2914: 2910: 2902: 2898: 2889: 2885: 2872: 2868: 2859: 2855: 2846: 2842: 2833: 2829: 2820: 2816: 2807: 2803: 2792: 2788: 2780: 2776: 2767: 2763: 2757:Wayback Machine 2750:Awards Database 2747: 2740: 2731: 2727: 2722: 2718: 2709: 2705: 2696: 2689: 2680: 2676: 2667: 2663: 2654: 2650: 2641: 2637: 2628: 2624: 2616: 2609: 2601: 2594: 2578: 2574: 2569: 2562: 2553: 2546: 2537: 2526: 2517: 2465: 2425:Loin du Vietnam 2411:Raymond Queneau 2402: 2382: 2310: 2220: 2211: 2190: 2142: 2106: 2077: 2043: 2030: 2014: 1906:90 mins. Lost. 1891:30 mins. Lost. 1865: 1842: 1772: 1728:Not on the Lips 1631:Henri Bernstein 1603:Love Unto Death 1594: 1570: 1460:The War Is Over 1459: 1450: 1402: 1353: 1348: 1196: 1189: 1186: 1177: 1174: 1165: 1162: 1152: 1122: 1025: 916:Henri Bernstein 886:Not on the Lips 850:Love unto Death 799: 737:Jacques Doillon 722:Marquis de Sade 718: 656:Loin du Vietnam 652:Jean-Luc Godard 634:The War Is Over 580:French New Wave 536: 520:'s first film, 474:Raymond Queneau 379: 374: 328:Georges Pitoëff 302: 264:Henri Bernstein 224:French New Wave 181: 171: 170: 167: 1998) 162: 158: 148: 140: 136: 133: 109: 106:cinematographer 76: 73: 69: 60: 54: 48: 46: 38: 26: 17: 12: 11: 5: 7062: 7060: 7052: 7051: 7046: 7041: 7036: 7031: 7026: 7021: 7016: 7011: 7006: 7001: 6996: 6991: 6986: 6981: 6976: 6971: 6966: 6961: 6956: 6951: 6941: 6940: 6934: 6933: 6931: 6930: 6923: 6915: 6910: 6905: 6898: 6893: 6887: 6885: 6881: 6880: 6878: 6877: 6869: 6861: 6853: 6845: 6837: 6829: 6821: 6813: 6804: 6802: 6798: 6797: 6795: 6794: 6789: 6784: 6782:Henri Langlois 6779: 6774: 6772:Robert Bresson 6769: 6764: 6758: 6756: 6752: 6751: 6749: 6748: 6743: 6741:Straub–Huillet 6738: 6736:Jacques Rozier 6733: 6728: 6723: 6718: 6713: 6711:Georges Franju 6708: 6703: 6698: 6693: 6687: 6685: 6679: 6678: 6676: 6675: 6670: 6665: 6660: 6655: 6650: 6645: 6639: 6637: 6631: 6630: 6628: 6627: 6622: 6617: 6612: 6607: 6605:Claude Chabrol 6601: 6599: 6592: 6591: 6586: 6584: 6583: 6576: 6569: 6561: 6552: 6551: 6546: 6545: 6543: 6542: 6536: 6533:Matteo Garrone 6530: 6524: 6518: 6511: 6509: 6505: 6504: 6502: 6501: 6495: 6489: 6486:Xavier Legrand 6483: 6476:Amat Escalante 6473: 6467: 6461: 6455: 6449: 6443: 6436: 6434: 6430: 6429: 6427: 6426: 6420: 6414: 6411:Brian De Palma 6408: 6402: 6396: 6390: 6387:Takeshi Kitano 6384: 6381:Lee Chang-dong 6378: 6372: 6365: 6363: 6359: 6358: 6356: 6355: 6349: 6346:Emir Kusturica 6343: 6336: 6334: 6330: 6329: 6324: 6322: 6321: 6314: 6307: 6299: 6290: 6289: 6287: 6286: 6283:Thomas Cailley 6280: 6274: 6268: 6262: 6259:Roman Polanski 6256: 6250: 6247:Robin Campillo 6244: 6241:Paul Verhoeven 6238: 6232: 6226: 6220: 6214: 6208: 6205:Roman Polanski 6202: 6196: 6190: 6184: 6181:Pascale Ferran 6178: 6172: 6166: 6160: 6154: 6148: 6142: 6136: 6130: 6124: 6118: 6111: 6108: 6107: 6102: 6100: 6099: 6092: 6085: 6077: 6068: 6067: 6065: 6064: 6058: 6052: 6049:Cate Blanchett 6046: 6043:Robert Redford 6040: 6034: 6031:George Clooney 6028: 6022: 6016: 6010: 6004: 5998: 5992: 5986: 5983:Dustin Hoffman 5980: 5977:Romy Schneider 5974: 5968: 5962: 5956: 5953:Marlène Jobert 5950: 5947:Pierre Richard 5944: 5938: 5932: 5926: 5920: 5914: 5908: 5902: 5896: 5890: 5884: 5878: 5872: 5865: 5863: 5859: 5858: 5856: 5855: 5849: 5843: 5837: 5831: 5828:Jean Rochefort 5825: 5819: 5813: 5807: 5804:Clint Eastwood 5801: 5795: 5789: 5783: 5780:Henri Verneuil 5777: 5771: 5765: 5759: 5753: 5747: 5741: 5735: 5729: 5723: 5720:Michèle Morgan 5717: 5711: 5705: 5702:Gérard Philipe 5699: 5693: 5687: 5681: 5675: 5669: 5666: 5660: 5654: 5648: 5642: 5636: 5630: 5624: 5618: 5612: 5606: 5600: 5594: 5591: 5585: 5579: 5573: 5567: 5561: 5558:Louis de Funès 5555: 5549: 5543: 5537: 5531: 5525: 5519: 5513: 5510:Henri Langlois 5507: 5501: 5498:Ingrid Bergman 5494: 5492: 5488: 5487: 5484:Honorary César 5482: 5480: 5479: 5472: 5465: 5457: 5448: 5447: 5445: 5444: 5434: 5427:Liliana Cavani 5424: 5414: 5404: 5394: 5384: 5374: 5371:Robert Redford 5364: 5354: 5348: 5338: 5332: 5329:Francesco Rosi 5326: 5320: 5314: 5308: 5302: 5296: 5290: 5283:Hayao Miyazaki 5280: 5270: 5260: 5254: 5247: 5245: 5241: 5240: 5238: 5237: 5234:Clint Eastwood 5231: 5225: 5211: 5197: 5194:Michèle Morgan 5190:Dustin Hoffman 5179: 5145: 5131: 5124:Roman Polanski 5120:Robert De Niro 5113: 5099: 5089: 5079: 5076:Robert Bresson 5073: 5067: 5057: 5051: 5045: 5039: 5020:Michael Powell 5016:Akira Kurosawa 4989: 4975: 4972:Ingmar Bergman 4961: 4955: 4948: 4946: 4942: 4941: 4936: 4934: 4933: 4926: 4919: 4911: 4902: 4901: 4899: 4898: 4890: 4882: 4874: 4866: 4864:Roman Polanski 4858: 4850: 4842: 4834: 4826: 4818: 4816:Roman Polanski 4810: 4808:Michael Haneke 4802: 4794: 4792:Roman Polanski 4786: 4778: 4770: 4762: 4754: 4746: 4738: 4730: 4728:Roman Polanski 4722: 4714: 4706: 4704:Tonie Marshall 4698: 4690: 4682: 4670: 4662: 4654: 4646: 4638: 4630: 4622: 4620:Bertrand Blier 4614: 4606: 4598: 4596:Alain Cavalier 4590: 4588:Michel Deville 4582: 4574: 4566: 4558: 4550: 4542: 4540:Roman Polanski 4534: 4526: 4518: 4510: 4501: 4498: 4497: 4492: 4490: 4489: 4482: 4475: 4467: 4461: 4458: 4457: 4454: 4445: 4444: 4442: 4441: 4433: 4425: 4417: 4409: 4401: 4393: 4385: 4376: 4374: 4370: 4369: 4367: 4366: 4358: 4350: 4342: 4334: 4326: 4318: 4310: 4304: 4296: 4288: 4280: 4272: 4264: 4256: 4248: 4240: 4232: 4224: 4216: 4207: 4205: 4201: 4200: 4194: 4192: 4191: 4184: 4177: 4169: 4163: 4162: 4150: 4145: 4135: 4125: 4115: 4114: 4098: 4097:External links 4095: 4094: 4093: 4080:Wilson, Emma. 4078: 4063: 4048: 4033: 4026: 4019: 4005: 3998: 3991: 3986:Callev, Haim. 3984: 3969: 3960: 3957: 3955: 3954: 3929: 3904: 3882: 3863: 3847: 3824: 3811: 3793: 3780: 3765: 3761:Chicago Reader 3751: 3738: 3721: 3708: 3702:James Monaco, 3695: 3682: 3678:Film Quarterly 3676:Susan Sontag, 3669: 3652: 3639: 3626: 3613: 3600: 3594:James Monaco, 3587: 3574: 3561: 3549: 3536: 3509: 3497: 3478: 3465: 3450: 3426: 3405: 3375: 3350: 3335: 3322: 3289: 3276: 3259: 3242: 3225: 3212: 3190: 3171: 3154: 3137: 3119: 3106: 3093: 3076: 3063: 3047: 3026: 3008: 2996: 2981: 2968: 2946: 2934: 2921: 2908: 2896: 2883: 2866: 2860:James Monaco, 2853: 2840: 2827: 2814: 2801: 2786: 2774: 2761: 2738: 2725: 2716: 2703: 2697:James Monaco, 2687: 2674: 2661: 2648: 2642:James Monaco, 2635: 2622: 2607: 2592: 2572: 2560: 2544: 2538:Ephraim Katz, 2523: 2516: 2513: 2510: 2509: 2506: 2501: 2496: 2492: 2491: 2488: 2486: 2483:Contre l'oubli 2480: 2476: 2475: 2472: 2470: 2462: 2458: 2457: 2454: 2452: 2446: 2442: 2441: 2438: 2433: 2421: 2417: 2416: 2413: 2408: 2399: 2395: 2394: 2391: 2386: 2379: 2375: 2374: 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6734: 6732: 6729: 6727: 6724: 6722: 6719: 6717: 6714: 6712: 6709: 6707: 6706:Jean Eustache 6704: 6702: 6699: 6697: 6694: 6692: 6689: 6688: 6686: 6684: 6680: 6674: 6671: 6669: 6666: 6664: 6663:Alain Resnais 6661: 6659: 6656: 6654: 6651: 6649: 6646: 6644: 6641: 6640: 6638: 6636: 6632: 6626: 6623: 6621: 6618: 6616: 6613: 6611: 6608: 6606: 6603: 6602: 6600: 6597: 6593: 6589: 6582: 6577: 6575: 6570: 6568: 6563: 6562: 6559: 6540: 6537: 6534: 6531: 6528: 6525: 6522: 6519: 6516: 6513: 6512: 6510: 6506: 6499: 6498:Roy Andersson 6496: 6493: 6490: 6487: 6484: 6481: 6477: 6474: 6471: 6470:Pablo Trapero 6468: 6465: 6462: 6459: 6456: 6453: 6450: 6447: 6444: 6441: 6438: 6437: 6435: 6431: 6424: 6423:Shirin Neshat 6421: 6418: 6415: 6412: 6409: 6406: 6405:Alain Resnais 6403: 6400: 6397: 6394: 6391: 6388: 6385: 6382: 6379: 6376: 6373: 6370: 6367: 6366: 6364: 6360: 6353: 6350: 6347: 6344: 6341: 6338: 6337: 6335: 6331: 6327: 6320: 6315: 6313: 6308: 6306: 6301: 6300: 6297: 6284: 6281: 6278: 6275: 6272: 6269: 6266: 6263: 6260: 6257: 6254: 6251: 6248: 6245: 6242: 6239: 6236: 6233: 6230: 6227: 6224: 6221: 6218: 6215: 6212: 6209: 6206: 6203: 6200: 6197: 6194: 6191: 6188: 6185: 6182: 6179: 6176: 6173: 6170: 6167: 6164: 6163:Alain Resnais 6161: 6158: 6157:François Ozon 6155: 6152: 6149: 6146: 6143: 6140: 6137: 6134: 6131: 6128: 6125: 6122: 6119: 6116: 6113: 6112: 6109: 6105: 6098: 6093: 6091: 6086: 6084: 6079: 6078: 6075: 6062: 6059: 6056: 6055:David Fincher 6053: 6050: 6047: 6044: 6041: 6038: 6037:Penélope Cruz 6035: 6032: 6029: 6026: 6023: 6020: 6017: 6014: 6011: 6008: 6007:Kevin Costner 6005: 6002: 5999: 5996: 5993: 5990: 5989:Harrison Ford 5987: 5984: 5981: 5978: 5975: 5972: 5969: 5966: 5965:Jeanne Moreau 5963: 5960: 5957: 5954: 5951: 5948: 5945: 5942: 5939: 5936: 5933: 5930: 5927: 5924: 5921: 5918: 5915: 5912: 5909: 5906: 5903: 5900: 5897: 5894: 5891: 5888: 5885: 5882: 5879: 5876: 5873: 5870: 5867: 5866: 5864: 5860: 5853: 5850: 5847: 5844: 5841: 5838: 5835: 5832: 5829: 5826: 5823: 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5418: 5415: 5412: 5408: 5405: 5402: 5401:Tilda Swinton 5398: 5395: 5392: 5391:Julie Andrews 5388: 5385: 5382: 5378: 5375: 5372: 5368: 5365: 5362: 5358: 5355: 5352: 5349: 5346: 5342: 5339: 5336: 5333: 5330: 5327: 5324: 5321: 5318: 5315: 5312: 5311:John Lasseter 5309: 5306: 5303: 5300: 5297: 5294: 5291: 5288: 5284: 5281: 5278: 5277:Stanley Donen 5274: 5271: 5268: 5264: 5261: 5258: 5255: 5252: 5249: 5248: 5246: 5242: 5235: 5232: 5229: 5226: 5223: 5222:Andrzej Wajda 5219: 5215: 5214:Warren Beatty 5212: 5209: 5205: 5201: 5198: 5195: 5191: 5187: 5183: 5182:Robert Altman 5180: 5177: 5173: 5172:Alberto Sordi 5169: 5165: 5164:Alain Resnais 5161: 5157: 5153: 5149: 5146: 5143: 5139: 5135: 5132: 5129: 5125: 5121: 5117: 5114: 5111: 5107: 5106:Jeanne Moreau 5103: 5100: 5097: 5093: 5090: 5087: 5083: 5082:Miklós Jancsó 5080: 5077: 5074: 5071: 5068: 5065: 5061: 5058: 5055: 5052: 5049: 5046: 5043: 5040: 5037: 5033: 5029: 5025: 5021: 5017: 5013: 5009: 5005: 5001: 4997: 4993: 4990: 4987: 4983: 4979: 4976: 4973: 4969: 4965: 4962: 4959: 4956: 4953: 4950: 4949: 4947: 4943: 4939: 4932: 4927: 4925: 4920: 4918: 4913: 4912: 4909: 4897: 4896:Justine Triet 4891: 4889: 4883: 4881: 4875: 4873: 4867: 4865: 4859: 4857: 4851: 4849: 4843: 4841: 4835: 4833: 4827: 4825: 4819: 4817: 4811: 4809: 4803: 4801: 4795: 4793: 4787: 4785: 4779: 4777: 4771: 4769: 4763: 4761: 4755: 4753: 4747: 4745: 4739: 4737: 4731: 4729: 4723: 4721: 4715: 4713: 4707: 4705: 4699: 4697: 4691: 4689: 4683: 4681: 4677: 4671: 4669: 4668:Claude Sautet 4663: 4661: 4660:André Téchiné 4655: 4653: 4652:Alain Resnais 4647: 4645: 4644:Claude Sautet 4639: 4637: 4636:Alain Corneau 4631: 4629: 4623: 4621: 4615: 4613: 4607: 4605: 4599: 4597: 4591: 4589: 4583: 4581: 4575: 4573: 4567: 4565: 4564:Andrzej Wajda 4559: 4557: 4551: 4549: 4543: 4541: 4535: 4533: 4527: 4525: 4524:Alain Resnais 4519: 4517: 4511: 4509: 4503: 4502: 4499: 4495: 4488: 4483: 4481: 4476: 4474: 4469: 4468: 4465: 4459: 4452: 4439: 4438: 4434: 4431: 4430: 4426: 4423: 4422: 4418: 4415: 4414: 4413:Night and Fog 4410: 4407: 4406: 4402: 4399: 4398: 4394: 4391: 4390: 4386: 4383: 4382: 4378: 4377: 4375: 4371: 4364: 4363: 4362:Life of Riley 4359: 4356: 4355: 4351: 4348: 4347: 4343: 4340: 4339: 4335: 4332: 4331: 4327: 4324: 4323: 4322:Same Old Song 4319: 4316: 4315: 4311: 4308: 4305: 4302: 4301: 4297: 4294: 4293: 4289: 4286: 4285: 4281: 4278: 4277: 4273: 4270: 4269: 4265: 4262: 4261: 4257: 4254: 4253: 4249: 4246: 4245: 4241: 4238: 4237: 4233: 4230: 4229: 4225: 4222: 4221: 4217: 4214: 4213: 4209: 4208: 4206: 4204:Feature films 4202: 4198: 4197:Alain Resnais 4190: 4185: 4183: 4178: 4176: 4171: 4170: 4167: 4160: 4159: 4154: 4151: 4149: 4146: 4143: 4139: 4136: 4133: 4129: 4126: 4124: 4120: 4119:Alain Resnais 4117: 4116: 4112: 4101: 4096: 4091: 4087: 4083: 4082:Alain Resnais 4079: 4076: 4072: 4068: 4064: 4061: 4057: 4053: 4049: 4046: 4042: 4038: 4034: 4031: 4027: 4024: 4020: 4018: 4014: 4010: 4006: 4003: 3999: 3996: 3995:Alain Resnais 3992: 3989: 3985: 3982: 3978: 3974: 3970: 3967: 3963: 3962: 3958: 3943: 3939: 3933: 3930: 3918: 3914: 3908: 3905: 3901: 3897: 3894: 3893: 3886: 3883: 3879: 3875: 3874: 3867: 3864: 3860: 3856: 3851: 3848: 3844: 3843:9781108478908 3840: 3836: 3835: 3828: 3825: 3821: 3815: 3812: 3807: 3806:Libération.fr 3803: 3797: 3794: 3790: 3784: 3781: 3777: 3776: 3769: 3766: 3763: 3762: 3755: 3752: 3748: 3742: 3739: 3735: 3734:Alain Resnais 3731: 3725: 3722: 3718: 3712: 3709: 3705: 3699: 3696: 3692: 3686: 3683: 3679: 3673: 3670: 3666: 3662: 3656: 3653: 3649: 3648:Alain Resnais 3646:Emma Wilson, 3643: 3640: 3636: 3633:René Prédal, 3630: 3627: 3623: 3617: 3614: 3610: 3609:Alain Resnais 3604: 3601: 3597: 3591: 3588: 3584: 3583:Alain Resnais 3578: 3575: 3571: 3565: 3562: 3558: 3553: 3550: 3546: 3540: 3537: 3524: 3520: 3513: 3510: 3506: 3501: 3498: 3494: 3490: 3489: 3482: 3479: 3475: 3469: 3466: 3462: 3461: 3454: 3451: 3439: 3433: 3431: 3427: 3415: 3409: 3406: 3393: 3389: 3385: 3379: 3376: 3364: 3360: 3354: 3351: 3347: 3346: 3339: 3336: 3332: 3331:Alain Resnais 3326: 3323: 3310: 3306: 3302: 3296: 3294: 3290: 3286: 3280: 3277: 3273: 3272:Alain Resnais 3269: 3263: 3260: 3256: 3252: 3246: 3243: 3239: 3238:Alain Resnais 3235: 3229: 3226: 3222: 3216: 3213: 3209: 3205: 3202: 3201: 3194: 3191: 3187: 3186: 3181: 3180:Ronald Bergan 3175: 3172: 3168: 3167:Alain Resnais 3164: 3158: 3155: 3151: 3150:Alain Resnais 3147: 3144:Interview in 3141: 3138: 3134: 3133: 3126: 3124: 3120: 3116: 3110: 3107: 3103: 3097: 3094: 3090: 3089:Alain Resnais 3086: 3080: 3077: 3073: 3067: 3064: 3060: 3056: 3051: 3048: 3044: 3043:9782952696258 3040: 3036: 3030: 3027: 3022: 3018: 3012: 3009: 3005: 3000: 2997: 2993: 2992: 2985: 2982: 2978: 2975:René Prédal, 2972: 2969: 2965: 2961: 2958: 2957: 2950: 2947: 2943: 2938: 2935: 2931: 2925: 2922: 2918: 2912: 2909: 2905: 2900: 2897: 2893: 2892:French Cinema 2887: 2884: 2880: 2879:Alain Resnais 2876: 2870: 2867: 2863: 2857: 2854: 2850: 2849:Alain Resnais 2847:Emma Wilson, 2844: 2841: 2837: 2831: 2828: 2824: 2818: 2815: 2811: 2805: 2802: 2798: 2797: 2790: 2787: 2783: 2778: 2775: 2771: 2765: 2762: 2758: 2754: 2751: 2745: 2743: 2739: 2735: 2729: 2726: 2720: 2717: 2713: 2707: 2704: 2700: 2694: 2692: 2688: 2684: 2678: 2675: 2671: 2665: 2662: 2658: 2652: 2649: 2645: 2639: 2636: 2632: 2631:Alain Resnais 2629:Emma Wilson, 2626: 2623: 2619: 2614: 2612: 2608: 2604: 2599: 2597: 2593: 2590: 2586: 2582: 2579:Slavo Zizek, 2576: 2573: 2567: 2565: 2561: 2557: 2554:Peter Cowie, 2551: 2549: 2545: 2541: 2535: 2533: 2531: 2529: 2525: 2522: 2521: 2514: 2507: 2505: 2502: 2500: 2497: 2494: 2493: 2489: 2487: 2484: 2481: 2478: 2477: 2473: 2471: 2468: 2463: 2460: 2459: 2455: 2453: 2450: 2447: 2444: 2443: 2439: 2437: 2434: 2431: 2427: 2426: 2422: 2419: 2418: 2414: 2412: 2409: 2407: 2405: 2400: 2397: 2396: 2392: 2390: 2387: 2385: 2380: 2377: 2376: 2372: 2370: 2367: 2365: 2364: 2360: 2357: 2356: 2352: 2350: 2347: 2344: 2343:Night and Fog 2340: 2339: 2335: 2332: 2331: 2327: 2325: 2322: 2319: 2315: 2313: 2308: 2305: 2304: 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of Riley 1823: 1821: 1820: 1816: 1813: 1812: 1808: 1804: 1802: 1799: 1797: 1796: 1792: 1789: 1788: 1784: 1782: 1779: 1777: 1775: 1770: 1767: 1766: 1762: 1758: 1755: 1753: 1750: 1748: 1747: 1743: 1740: 1739: 1735: 1731: 1729: 1726: 1724: 1723: 1719: 1716: 1715: 1712: 1708: 1705: 1703: 1702:Same Old Song 1700: 1698: 1697: 1693: 1690: 1689: 1685: 1681: 1677: 1674: 1672: 1669: 1667: 1666: 1662: 1659: 1658: 1655: 1654:Jules Feiffer 1652: 1650: 1647: 1645: 1644: 1640: 1637: 1636: 1632: 1628: 1626: 1623: 1621: 1620: 1616: 1613: 1612: 1609: 1606: 1604: 1601: 1599: 1597: 1592: 1589: 1588: 1585: 1582: 1580: 1577: 1575: 1573: 1568: 1565: 1564: 1560: 1559:Henri Laborit 1556: 1553: 1551: 1548: 1546: 1545: 1541: 1538: 1537: 1534: 1531: 1529: 1526: 1524: 1523: 1519: 1516: 1515: 1512: 1511:Jorge Semprún 1509: 1507: 1504: 1502: 1500: 1496: 1493: 1492: 1489: 1486: 1484: 1481: 1479: 1478: 1474: 1471: 1470: 1467: 1466:Jorge Semprún 1464: 1462: 1457: 1455: 1453: 1448: 1445: 1444: 1441: 1438: 1436: 1433: 1430: 1429: 1424: 1421: 1420: 1417: 1414: 1412: 1409: 1407: 1405: 1400: 1397: 1396: 1393: 1390: 1387: 1383: 1380: 1379: 1374: 1371: 1370: 1367:Screenwriter 1356: 1351:Feature films 1350: 1345: 1340: 1336: 1332: 1329: 1325: 1322: 1319: 1315: 1311: 1307: 1303: 1299: 1296: 1292: 1289: 1287: 1283: 1279: 1275: 1271: 1268: 1266: 1262: 1259: 1257: 1253: 1249: 1245: 1242: 1240: 1236: 1232: 1231:Best Director 1228: 1225: 1223: 1219: 1215: 1212: 1209: 1205: 1201: 1200:Academy Award 1198: 1197: 1193: 1184: 1179: 1172: 1167: 1160: 1155: 1153: 1150: 1148: 1143: 1140: 1138: 1134: 1129: 1127: 1126:André Malraux 1120:Personal life 1119: 1117: 1115: 1111: 1107: 1102: 1098: 1094: 1090: 1086: 1082: 1080: 1076: 1075: 1070: 1069: 1068:nouveau roman 1064: 1060: 1056: 1052: 1048: 1043: 1040: 1034: 1030: 1022: 1020: 1018: 1014: 1010: 1009: 1008:Life of Riley 1004: 1003: 998: 994: 990: 986: 985: 980: 975: 973: 969: 968: 963: 959: 953: 951: 950: 945: 944: 939: 938: 933: 929: 928: 923: 922: 917: 913: 912: 907: 903: 899: 895: 890: 888: 887: 882: 878: 877:Dennis Potter 874: 873: 872:Same Old Song 868: 864: 863:Guy Peellaert 860: 855: 851: 847: 846: 837: 833: 831: 830: 825: 821: 817: 813: 809: 808:Pierre Arditi 805: 796: 794: 791: 790:Henri Laborit 787: 783: 782: 777: 776:Ellen Burstyn 773: 769: 765: 761: 760: 754: 752: 748: 744: 743: 738: 734: 729: 727: 723: 715: 713: 711: 707: 706:André Delvaux 703: 699: 695: 691: 687: 686: 685:Harry Dickson 679: 677: 673: 672: 665: 663: 662: 657: 653: 648: 644: 643:Jorge Semprún 640: 636: 635: 630: 625: 623: 622: 617: 613: 608: 606: 602: 598: 594: 593: 588: 583: 581: 577: 576: 575:The 400 Blows 571: 567: 562: 558: 553: 549: 544: 543: 533: 531: 529: 525: 524: 519: 515: 511: 507: 503: 499: 495: 491: 488:, Queneau in 487: 483: 477: 475: 471: 470: 464: 460: 459: 453: 451: 447: 446: 445:Night and Fog 441: 434: 430: 428: 427: 422: 418: 414: 410: 406: 405: 400: 395: 394: 389: 385: 376: 371: 369: 367: 363: 359: 353: 351: 347: 343: 342: 337: 333: 329: 324: 322: 318: 314: 313: 307: 299: 297: 295: 291: 287: 283: 279: 278:Academy Award 274: 271: 269: 265: 261: 255: 253: 249: 248:Jorge Semprún 245: 241: 237: 233: 229: 225: 221: 220: 215: 214: 208: 207: 200: 198: 194: 193: 192:Night and Fog 187: 179: 178:Alain Resnais 157: 150: 149: 127: 126: 124: 120: 116: 112: 105: 102: 99: 97:Film director 96: 95: 93: 89: 86: 83: 81:Resting place 79: 67: 63: 58: 45: 41: 34: 29: 25:Alain Resnais 22: 19: 6925: 6917: 6900: 6871: 6863: 6855: 6847: 6839: 6831: 6823: 6815: 6807: 6701:Jean Douchet 6696:Jacques Demy 6662: 6658:Chris Marker 6653:Armand Gatti 6595: 6539:Brady Corbet 6521:Jane Campion 6446:Cai Shangjun 6404: 6375:Babak Payami 6277:Albert Serra 6162: 6001:Kate Winslet 5917:Meryl Streep 5893:Jeremy Irons 5862:2001–present 5762:Gregory Peck 5714:Sophia Loren 5609:René Clément 5575: 5564:Kirk Douglas 5534:Marcel Carné 5516:Jacques Tati 5305:Ermanno Olmi 5244:2001–present 5218:Sophia Loren 5176:Monica Vitti 5163: 5024:Satyajit Ray 5004:George Cukor 4986:Billy Wilder 4968:Marcel Carné 4958:Orson Welles 4888:Dominik Moll 4840:Xavier Dolan 4736:Denys Arcand 4712:Dominik Moll 4651: 4572:Ettore Scola 4523: 4516:Joseph Losey 4435: 4427: 4419: 4411: 4403: 4395: 4387: 4379: 4360: 4352: 4344: 4336: 4328: 4320: 4312: 4306: 4298: 4290: 4282: 4274: 4266: 4258: 4250: 4242: 4234: 4226: 4218: 4210: 4196: 4157: 4141: 4131: 4081: 4066: 4051: 4036: 4029: 4022: 4008: 4001: 3994: 3987: 3972: 3965: 3964:Armes, Roy. 3945:. 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Retrieved 3309:the original 3304: 3284: 3279: 3271: 3267: 3262: 3254: 3245: 3237: 3233: 3228: 3220: 3215: 3210:, May 2004 . 3199: 3193: 3185:The Guardian 3184: 3174: 3166: 3162: 3157: 3149: 3145: 3140: 3132:The Guardian 3131: 3114: 3109: 3101: 3096: 3088: 3084: 3079: 3071: 3066: 3054: 3050: 3034: 3029: 3021:The Guardian 3020: 3011: 3003: 2999: 2989: 2984: 2976: 2971: 2955: 2949: 2941: 2937: 2929: 2924: 2916: 2911: 2903: 2899: 2891: 2886: 2878: 2874: 2869: 2861: 2856: 2848: 2843: 2835: 2830: 2822: 2817: 2809: 2804: 2795: 2789: 2781: 2777: 2769: 2764: 2733: 2728: 2719: 2711: 2706: 2698: 2682: 2677: 2669: 2664: 2656: 2651: 2643: 2638: 2630: 2625: 2617: 2602: 2580: 2575: 2555: 2539: 2519: 2518: 2498: 2482: 2464: 2456:Uncredited. 2448: 2429: 2423: 2401: 2389:Chris Marker 2381: 2369:Remo Forlani 2361: 2342: 2336: 2324:Chris Marker 2317: 2309: 2291: 2271: 2259:Gaston Diehl 2253: 2245:Unfinished. 2210: 2184:Gaston Diehl 2178: 2163: 2136:Gaston Diehl 2127: 2100:Gaston Diehl 2093: 2076: 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4346:Wild Grass 4309:(TV, 1992) 4260:Providence 3661:New Yorker 3529:14 October 2515:References 2449:Cinétracts 1781:Wild Grass 1528:Providence 1522:Providence 1331:Grand Prix 1235:Providence 1233:1977, for 1023:Reputation 993:Palme d'Or 967:Wild Grass 958:L'Incident 759:Providence 317:surrealism 300:Early life 49:1922-06-03 6896:Auteurism 6801:Key films 6635:Left Bank 6598:Directors 6019:Sean Penn 5911:Spike Lee 5491:1976–2000 5257:Dino Risi 5142:Al Pacino 5138:Ken Loach 4964:John Ford 4945:1969–2000 3947:1 January 3873:Le Figaro 3460:Le Figaro 3102:The Times 2942:The Times 2485:– segment 2469:– segment 2451:– segment 2415:19 mins. 2393:18 mins. 2373:22 mins. 2353:32 mins. 2283:12 mins. 2263:11 mins. 2155:20 mins. 2119:20 mins. 1139:in 1998. 1110:Marienbad 894:Marienbad 797:1981–2014 726:Repérages 716:1969–1980 564:the 1959 555:novelist 534:1959–1968 232:Left Bank 117:1946–2014 6913:Jump cut 6873:La Jetée 5959:Jude Law 5317:John Woo 4389:Guernica 4381:Van Gogh 4307:Gershwin 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