The quiet, delicately observed slapstick here works with far more hits than misses, although in comparison with, say, Keaton, Tati’s cold detachment from his characters seems to result in a decided lack of insight into human behaviour. An egomaniacal film star develops a relationship with a young dancer against the backdrop of Hollywood's silent era. But there’s a specificity to these characters and this story, too: its incensed, impassioned and hedonistic ensemble feel real; their fears are scary and relatable. Neither young nor especially glamorous – she’s stuck in subsidised theatre – Clara touches him so deeply, she opens up horizons he’s never dreamed of: a world of art, literature, philosophy and beauty. Delon – impossibly beautiful, impossible to read, cold, cool – steals the film here, and the most powerful scenes are on Ripley’s yacht, when Clément allows himself most freely to indulge the story’s otherwise muted homoerotic edge.It’s almost as if we don’t need a biopic of Edith Piaf; her life was a movie already. Written and directed by the French-Tunisian Abdellatif Kechiche, it is the richest film of his career. His colleague is unimpressed: ‘All that singing’s a pain – I prefer movies.’ ‘The Umbrellas of Cherbourg’, it’s safe to say, would not be for him: every line of dialogue (including his own complaint) is sung to Michel Legrand’s melodious songbird score. Presumed lost, the film’s original print, hand-coloured by Méliès himself, was rediscovered in 1993 and restored in 2011. Literally explosive, the plot concerns a South American oil fire raging out of control, with only the possibility of a nitroglycerine blast to snuff it out. Godard’s ambitious, sweeping eight-part video project exploring, as per the pun in the film’s title, the ‘history’, ‘histories’, ‘story’ and ‘stories’ of cinema, is often considered the most important work of his late career. That’s not to say Jacques Demy’s 1964 favourite is an exercise in whimsy: it might start in the key of blissful romance – between gorgeous Guy and Catherine Deneuve’s luminous Geneviève, daughter of the widowed proprietress of the titular shop – but it stealthily proceeds to such mundanities as teenage pregnancy, conscription and lives divergent. Action and adventure Some lovely Hitchcockian games, like the strange ketchup that drips onto a picnic hamburger from a clifftop where the latest victim has been claimed. The shared purpose of the French is to the fore (one of the film’s many illusions: we can’t be sure such unity would persist in peace). Menu. He’s experimental in some ways; in others, he has the refinement of Michael Bay. Taking his lack of faith in theatrical acting to its logical limit, Bresson perversely places the mute beast centre-screen as he passes from owner to owner, giving rides, heaving agricultural machinery, and receiving beatings and caresses in a coolly observed landscape of poverty and folly. Even in the butchered version distributed in Britain (dubbed and cut to 102 minutes) it’s worth seeing: the mood remains, as does the film’s central sequence, a superbly executed silent jewel robbery in the Place Vendôme.Released the same year as Godard’s ‘Breathless’ (1959) and filmed on the same sun-dappled Parisian streets, Bresson’s mid-career tale of the mysterious operation of grace and redemption on the fate of a young thief is considered by many to be his masterpiece. Just out of jail, afraid he can’t cut it in the underworld anymore, involved in an act of revenge that leaves him with a nasty taste in his mouth, Reggiani finds Crohem lurking in ambush when he takes on his next job. But at least in contrast to later works like ‘Playtime’ and ‘Traffic’, there’s enough dramatic structure to make it more than simply a series of one-off gags.In a French provincial town, Henri Menard (Bacri) runs the old family restaurant where the clan convenes every Friday night. This is a glorious experiment in, and exploration of, the nature of cinema. He described this, his penultimate film, as a digest of the 19 definitive underworld set-ups that could be found in John Huston’s picture of doomed gangsters, ‘The Asphalt Jungle’. Newcomers to Bresson’s films may be surprised to hear that this is perhaps his most optimistic, open, sensuous and sexually charged film, given its dark Dostoyevskian subject-matter. See titles to watch instantly, titles you haven't rated, etc

But her father, unhappy about the blossoming romance, deals in human flesh: will Louison fall victim, or will the Troglodistes, an underground group of vegetarian fanatics, come to his rescue? Clement prefers a much more caring approach to schooling and he introduces his pint-sized pupils to the magic of singing.This stunningly photographed and skilfully acted film uses an accretion of naturalistic detail to present an emotionally restrained but utterly compelling account of the last three months of van Gogh’s life. Of all the cities in the world, Paris is one that you can’t help but want to return to, over and over again.

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