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Un prophète and Dheepan
Gemma King

number of other French films (or majority French-funded co-­productions) with more than 50 per cent non-French dialogue, like Philippe Faucon’s Fatima (2015, French and Arabic), and Abderrahmane Sissako’s MUP_King_Printer.indd 102 22/06/2017 11:03 Urban margins: Un prophète; Dheepan 103 Timbuktu. In fact, Timbuktu’s dialogue includes excerpts of Arabic, English and French, but it is mostly composed of speech in Bambara, Songhay and Tamashek. Other films are even monolingual, such as Deniz Gamze Ergüven’s Turkish-language Mustang (2015) and Laurent Cantet’s English

in Decentring France
Cinema beyond relation?
Andrew Asibong

and a potential connection to others. 2 Where Rampling had spent most of the 1990s in small roles and television movies, the first decade of the new millennium has seen her starring in major film productions such as Laurent Cantet’s Vers le sud and Dominik Moll’s Lemming (both 2005), as well as in Ozon’s other films Swimming Pool

in François Ozon
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Negotiating the national popular
Lucy Mazdon

system. Laurent Cantet’s recent film Entre les murs (The Class, 2007) provides a revealing example of the ways in which French schools perpetuate ‘traditional, elitist notions of Culture’ and serve ‘that small minority who have access to Culture and the competence to talk about it’ (Rigby 1991: 5). The film is set in a large lycée in Paris’s socially deprived and highly multicultural Belleville. Teacher François attempts to instruct his pupils in the nuances of French grammar, notably the imperfect subjunctive, and is met with blank incomprehension and hostility as the

in Imagining the popular in contemporary French culture
Abstract only
Alison Smith

move towards revolutionary politics is perhaps best seen in the work of Laetitia Masson ( En avoir (ou pas) , 1995; A vendre , 1998), Bruno Dumont ( La Vie de Jésus , 1997) or, in more dramatic mode, Jean-François Richet ( Ma 6–T va crack-er , 1997). While several of these film-makers have since moved away from the social and reformulated their aesthetic, the style is still exemplified by the work of the Dardenne Brothers ( La Promesse , 1996; Rosetta , 1999; Le Fils , 2002) or Laurent Cantet ( Ressources humaines

in French cinema in the 1970s
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William Klein and Alain Tanner
Alison Smith

brothers, Laurent Cantet, or Robert Guédiguian). As for the theoretical debates of the early 1970s, their influential impact on the general discourse of film studies is now generally acknowledged, and if their translation into cinematic practice was always limited to the intellectual margins of French cinema, the results in the following decade were nonetheless interesting and have considerable importance in the complex image of itself projected by the French cinema. The eager anticipation of a total change in cinematic practice, with which

in French cinema in the 1970s
Space, sensation, and spectatorship in the films of Bruno Dumont
James S. Williams

anticipation of expanded vision and visualcy in Dumont to the realisation of a highly ritualised and clinically executed cinematic strategy. Yet this is only one part of a larger sleight of hand performed by Dumont’s cinema of devices, decoys and ‘illusions’.45 For if Dumont pushes his central protagonists into new and at times increasingly abstract life-death situations, this is not so much to test their behaviour under certain conditions (as Laurent Cantet might wish to attempt, for example), as to disorient and challenge the viewer by forcing us to confront emotionally

in Space and being in contemporary French cinema
Lynn Anthony Higgins

. Films such as Claude Berri’s Germinal , Robert Guédiguian’s Marius et Jeannette (1997), Laurent Cantet’s Ressources humaines (1999), Emilie DeLeuze’s Peau neuve (1999), Dominique Cabrera’s Nadia et les hippopotames (1999), and La Promesse (1996) and Rosetta (1999) by the Dardenne brothers use fiction to address contemporary social issues. Secondly, reviewers related Tavernier’s three films to cinéma-vérité . (Particularly relevant would be the work of filmmaker-anthropologist Jean Rouch, who called his films ‘ethno

in Bertrand Tavernier