Search: Starring Louis Garrel

It’s the sort of sweet-natured fable that makes adults nostalgic for childhood, but both the near and far futures it presents are, to children themselves, already likely to seem out of date.

The higher the emotions are supposed to be stacked, the less enjoyable and more obtuse the story becomes.

Everyone is allowed to over-act, not least herself, who runs the gamut of wet-eyed self-pity to hysteria.

Love, life, poetry, passion, sensitivity, all magnificently exalted in song – quite a lot of songs actually – for your cross-Channel delectation and savouring.

Dans Paris is about love – between brothers, father, girlfriends – and suicide... adding dollops of languor and a good deal of sex.

Despite full frontals, this is less erotic than scooping shelled shrimps out of aspic with your tongue.

Garrel knows his film is a confection rather than a banquet, so keeps things moving along at a serious clip

A melancholy contribution to an important cinematic reckoning.

Cotillard's face oscillates mysteriously between the past depicted on the screen and a woman of the present who tries to understand.

Dolan – in all his incarnations – has proved himself a name to watch here.

The writer-director takes great enjoyment in playing around with his various obsessions.

How does Ismael have the derring-do to believe that all these women are there, like a bouquet, for him to choose from? He is an artist, of course, who creates his own reality.

Jealousy is a carefully constructed film with plenty of family ties for the director.

The garments are liberating, positioning the wearer as subject, not object of a gaze that evaluates the body.

The film captures the orgiastic nature of a society that has no shame.

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.

Hazanavicius directs with flair for the style and mood of the Sixties.

This new film, like all the others, has some of that old Woody sauce as well that gives it some charm, but it’s a mere shadow of its old self.

In Gaspard Ulliel, Bonello has found an actor who not only looks the part but eases under Saint Laurent's skin with sensitivity.

There are astounding moments of audio visual density that make Scarlet so wonderful a film - especially because we are bestowed with a generosity in spirit and utter lack of prejudice.

Working out where the play-acting stops and the “real” action begins is enough to keep you on the edge of interest.

It's big, traditional, film-making, anchored in some quality performances.

Dumas may have provided the mettle but everyone here has sharpened it.