auteur -led independent sector as it d0es to any shortcomings
(real or imagined) in the film itself.
As a director whose first three
features are firmly anchored in contemporary socio-political subject
matter, Kassovitz’s fracture sociale trilogy contributes to
a long tradition of the director as social commentator in French cinema
that includes Renoir
The book begins with a consideration of the origins and influences that have shaped Mathieu Kassovitz's development as a director, but also the cultural context within which he emerges as a filmmaker. It argues new realism, the banlieue. The book examines the American influences evident in all of Kassovitz's films to date as a director and explores the continuity and difference between his films as actor and director. The first phase of Mathieu Kassovitz's career comprises his short films and feature films up to and including Assassin(s), engages in an often provocative way with socio-political debates in contemporary France through an aesthetic mode of address designed to appeal primarily to a youth audience. The second phase, post-Assassin(s), appears to be marked by a conscious shift towards bigger-budget, more unashamedly commercial, genre productions. The book explores the cultural context within which Mathieu Kassovitz emerged to direct his first three short films, concentrating in the second half on key transformations relating to that have taken place in relation to French popular culture. What Kassovitz offers is not social realism, but rather what might be termed 'postmodern social fables'. Assassins, Les Rivières pourpres, Fierrot le pou and Cauchemar blanc, Métisse, La Haine are some films discussed extensively. In a national cinema that has made strategic use of the auteur's cultural cachet in order to mark its difference from Hollywood, Kassovitz is seen by many to side more closely with the American 'invaders' than the defenders of French cultural exception.