New York's Rendez-Vous With French Cinema — A–Z of films

Augustine belongs to a family of movies that scrutinise the social construct of illness, not with a lecture but with a wayward glance.

Complex and immersive, funny but with a sense of danger lurking in its darker moments, this is the sort of film that children and adults will watch to the end and then want to watch again.

Ozon loves to let his audience's perceptions clash.

Even viewers who have never cared much about show jumping, should be drawn in by how the movie deals with decision making, risk taking, self doubt, and family obligations

It's a slender film. A bit pale, like the light at the Baltic Sea, or a piece of ham that's been left on the plate too long.

Pauline Etienne sweeps all before her as Suzanne Simonin, a nun who wants none of it.

Populaire benefits from a savvy script with multi-layered humour and from superb work by its stars.

It might not be a Renoir, in either of the two historic senses, but it is an elegant and enjoyable drama filled with beauty, passion and a near sublime gentleness of spirit.

This is a film of two halves, with the half involving sweetness and light muddled and limp in comparison to its tougher, more sinister flipside, while the ending is almost unforgivably trite.

Miller's stance may remain resolutely ambiguous but it's intriguing nonetheless.