French Film Festival — A–Z of films

Gourmet is phenomenal as the shopping centre aficionado who makes us understand a little more why the world is in the state it is in today.

Fresh, frisky and surprisingly chaste considering the amount of bed-hopping going on.

The Big Blue is pure cinéma du look.

The film is dark. Its message of disconnection has layers of sub plots, barely hinted at yet still damaging

Who does what and how they fit into the scheme of things requires a refresher course

The film, co-written with Hélène Zimmer, functions like exquisite lacework with new patterns emerging at every turn.

Both Bejo and Attal offer strong charismatic performances which hold your attention even if sometimes you have to suspend your disbelief.

Stephane Brizé is a master of films that appear to say very little but actually speak volumes.

Though Clouzot blasts the story along like a bullet train, the pace is enjoyably frantic and you never feel as though you are being left behind.

Only in France can a film of such delicate sensibility be made

Desplechin, like no other, startles with his enigmatic perceptions on the gender divide.

If you ever threw safety to the wind and sailed deeply into the love that could be your undoing, you will be able to identify with what Maïwenn and her brilliant actors are exploring.

SK1 at its best, is an examination of doubt.

With heart-rending emotion and considerable physical punch Emmanuelle Bercot immerses us in French young offenders’ procedures.

Director Stefan Liberski catches both mood and place very well.

A beautifully modulated and measured odyssey.

If you think you can come to an easy judgement, the film seems to say, think again.

The animated characters have a detailed, Disney-friendly feel, but there is little of the sentimentality that tends to fur the teeth of US animation.