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settled in France or their children, Maghrebi or Maghrebi-style music is often introduced via the home during family festivities or social gatherings and such musical genres are used to emphasise the characters’ ethnic heritage. Examples here include Malik Chibane’s Hexagone (1994) and Douce France (1995); Philippe 4 4 Representing ethnicity Faucon’s Samia (2000); Thomas Gilou’s Raï (1995); and Coline Serreau’s Chaos (2001). While no events of this kind occur in Drôle de Félix, such music is only ever heard when Félix is either on or just off screen. Moreover, the
, Denis’ treatment of sensitive issues proves controversial and challenging. Behind the apparently liberating (non essentialist) turnabout of gender roles, the shift that the desire for a baby appears to create between Nénette and Boni raises the familiar question of an effacement of the feminine. In particular, it reactivates the arguments spurred by the successful release of Coline Serreau’s Trois hommes et un couffin (1986
child, he would not speak about it as much, and this exchange inspired his idea for a screwball comedy about a man who falls pregnant.8 Demy decided that a comic film would allow him to reach broad audiences and give him license to approach such absurd themes. Despite being dismissed as a failure, L’Evénement... serves as a precursor of the groundbreaking and lucrative comedies of the following decades in which the ‘crisis of masculinity’ becomes a preoccupation, of which Coline Serreau’s Trois hommes et un couffin (1985) is the most famous example. L’Evénement... has
, Jean-Jacques Beineix and the ‘ cinéma du look ’ as well as Diane Kurys and Chantal Akerman and the multitude of women filmmakers who emerged in the 1980s and 1990s. Along with others such as Alain Corneau, Jacques Doillon, Jean Eustache, Philippe Garrel, Claude Miller, André Téchiné, and Coline Serreau, Tavernier established his reputation in the 1970s. Unlike the Nouvelle Vague with which they are often compared, however, these cinéastes have never been characterized as a movement. Prédal simply calls them ‘la génération 70
of society, as they work in the city at night and are then forced to travel back to one of the housing estates in the suburbs filmed in Le Camion. The disparity between night and day in Les Mains négatives, with its implicit political significance, recalls Coline Serreau’s popular film Romuald et Juliette, where Juliette also works as a cleaner at night, but at dawn returns to her council flat on the outskirts of
). In the meantime, Oury and Veber paved the way for a new generation of comedy writers coming from the world of café-théâtre and live performance in the late 1970s, for example Bertrand Blier, Coline Serreau, Jean-Marie Poiré, Josiane Balasko and Michel Blanc, who would become prolific screenwriting directors of the 1980s. This decade is frequently characterised on the
, Marguerite Duras and Varda, ‘articulat[ed] new representations of French subjectivity, agency and gendered identities, both through a challenge to dominant modes of filmic representation and through formal intervention’. Dobson also refers to the work of Coline Serreau and Diane Kurys, emphasising their engagement ‘with the codes and conventions of popular generic forms’. As directors who wrote
Jacques Rivette’s 1989 film, La Bande des quatre (Deliba 2003 : 45). On the other hand, Rachida Brakni’s success in Coline Serreau’s Chaos (2001), seen by over a million spectators, was quickly followed by an unmarked role opposite Eric Cantona in Thierry Binisti’s L’Outremangeur (2003). It is surely significant in terms of the history of representations that Naceri, first prominent as a hopeless beur drug-dealer in Thomas Gilou’s Raï
. 89 Coline Serreau's documentary Mais qu’est-ce qu’elles veulent? (1975–1978) famously shows a scene in which a bourgeois woman ridicules the MLF as misled. 90 I draw here from Jean-Marc Poinsot's point about the Parisian scene in the late 1960s where he cautions against artists’ work being used to explicate theory when the theorists/philosophers were as much shaped by the art they
financiers from across Europe. As a transnational production practice, cinema participates in the ‘touring’ that the narratives I consider here undertake. 7 Saint-Jacques… La Mecque (France), a 2005 film by Coline Serreau, offers a different perspective on such programmes through a voyage from France to Santiago de