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’est Madame la France que tu préfères? , 1981, and Le Départ du père , 1983) and Aïssa Djabri ( La Vago , 1983) were critically acclaimed and gave expression to the identity crisis and, in the case of La Vago , the socio-economic disadvantages facing the ‘second generation’. The breakthrough into full-length feature filmmaking aimed at a mainstream audience carne in 1985 with Costa-Gavras’ sponsoring of Mehdi Charef’s Le Thé au harem d’Archimède , winner of
shorts commissioned as a homage to Jean Vigo’s (1905–34) celebrated A propos de Nice (1934), a 21 min documentary that drew a biting portrait of the city of the douceur de vivre. The 1995 sequel, however, received little critical approval in spite of its impressive list of contributors (Abbas Kiarostami and Paviz Kimiavi, Catherine Breillat, Raymond Depardon, Pavel Longuine, Claire Denis, Costa Gavras
the treatment of a victim of political oppression. Denis shot a film in defence of the Sudanese activist Ushari Ahmed Mahmoud. Together with Costa Gavras, she was amongst the few participants who chose the musical clip format: produced in collaboration with French singer Alain Souchon, her film follows, through long travelling shots, the wanderings of a black man in the popular multi-ethnic district of Belleville. The images are set to