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After the New Wave

MUBI Special

The French New Wave far too often steals the spotlight from the next generation of filmmakers who came after. We aim to bring new focus on French directors who got started in the early 1970s, in a new series of films by Bertrand Blier, Alain Corneau, Jacques Doillon, Bertrand Tavernier, and André Téchiné.

Safe Conduct

Bertrand Tavernier France, 2002

In his most underrated film, Tavernier bravely unveils the experiences of two wartime heroes of the French film industry—their struggles and subtle resistance—amidst life under occupation. A testament to the power of cinema as community and the purpose art, and its artists, must find during wartime.

It All Starts Today

Bertrand Tavernier France, 1999

French cinema has produced some of the most incisive looks at education, and this underrated effort from Bertrand Tavernier is no exception. The economic depression of a small town poses threats to individualism and most importantly, the sanctity of childhood in this rousing, brave political film.

A Week's Vacation

Bertrand Tavernier France, 1980

With an enveloping lightness of touch, this anecdotal trip through Lyon is an unassuming yet complex portrait of a woman at a crossroads. Brimming with the observational beauty of a city symphony, Tavernier’s film is a warm reminder about the influence the most meaningful bonds have upon one’s life.

The Little Gangster

Jacques Doillon France, 1990

One of the most under-exposed directors who followed the New Wave generation, Jacques Doillon—whose Ponette we showed this spring—has a sophisticated style that deftly balances naturalism and profound psychological interiority. His characters seem to think and feel in ways rarely seen in the cinema.

All the Mornings of the World

Alain Corneau France, 1991

Long before Whiplash, Corneau explored a similar story of the musician Marin Marais and his tutelage by the cantankerous Monsieur de Sainte-Colombe. The two are movingly played by the late Guillaume Depardieu and his father Gérard, who in tandem articulate a brilliant soul in this ode to creation.

Choice of Arms

Alain Corneau France, 1981

We return to the versatile oeuvre of Alain Corneau with a high-tension thriller about a retired mobster (Montand!), his wife (Deneuve!), and a prison escapee (Depardieu!). The familiar story of a mobster returning for one last job is revised here with nuance, carving a film of rare unpredictability.

Alice and Martin

André Téchiné France, 1998

In 1985, director Andre Téchiné collaborated with new talent, including actress Juliette Binoche and auteur Olivier Assayas (serving as screenwriter) on the sublime Rendez-vous. The trio later reunited for Alice and Martin, a novelistic portrait of the struggle between ones romantic life and family.

Wild Reeds

André Téchiné France, 1994

One of the great films made by the generation after the French New Wave, André Téchiné’s Wild Reeds, a four-time César winner, is a teenage drama electric with currents of sexuality and politics. The 1962 setting is precise (the Franco-Algerian war), yet the tensions live on into the 90s and today.


Bertrand Tavernier France, 1992

A cop film antithetical to its Hollywood counterparts, Tavernier’s great mid-90s genre film showcases the lessons of street-level realism inherited from the French New Wave. No nonsense—inspired by the drug use of Tavernier’s son and co-written by a police vet—and all the more gripping for it.

Let Joy Reign Supreme

Bertrand Tavernier France, 1975

Bertrand Tavernier’s cinema practices an innate understanding of recreating history and Let Joy Reign Supreme is no exception. Blending a colorful sense of French history with razor-sharp satire and a perfectly pitched cast, this is a lively journey into a society at the threshold of collapse.

Buffet froid

Bertrand Blier France, 1979

Bertrand Blier is a talent largely undiscovered by Western audiences despite his Academy Award winning 1978 film, Get Out Your Handkerchiefs. He followed with Buffet froid, a satire which uniquely mixes the crime film with dark comedy for deliriously heightened sense of tone, style, and rhythm.

Nocturne indien

Alain Corneau France, 1989

Alain Corneau is best known in recent years for having his final film Love Crime, later remade by Brian De Palma. Before this, Corneau’s eclectic cinematic project took to India with this forlorn psychological examination of male friendship gone awry. A frequently startling venture into melancholy.

Police Python 357

Alain Corneau West Germany, 1976

An adaptation of Kenneth Fearing’s classic suspense novel, as well as drawing unique influence from the likes of Dirty Harry and other classic American crime thrillers, Police Python 357 proves that France’s Second Wave could do genre too—and perhaps even with greater skill than their predecessors.

My Favorite Season

André Téchiné France, 1993

Téchiné received 2 César nominations (including Best Director) for this chronicle of familial estrangement. Likened to the work of John Cassavetes in part due to his incisive understanding of the many complexities of family & masculinity, this intimate drama is one of great French films of the 90s.

I Don't Kiss

André Téchiné France, 1991

The French New Wave far too often steals the spotlight from the next generation of filmmakers who came after. We aim to bring new focus on French directors who got started in the 70s, in a new series including Alain Corneau, Jacques Doillon, Bertrand Tavernier, and here, the wonderful André Téchiné.

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