Sentences with phrase «french film the class»

Laurent Cantet, who directed Oscar - winning French film The Class, elicits good performances from his young female cast.

Had it chosen to be more like the French film The Class, it could have been truly great.

Not exact matches

Until I read The Humiliation of the Word, for instance, I could not understand why my students in French literature classes had so much to say and ask about the texts they read but never had any verbal response whatever when I showed them a film.

Above all, the film is a classic of «poetic realism,» that distinct brand of pessimistic»30s French urban drama that gave lyrical, sometimes even surrealistic, interpretations to working - class romances and underworld characters, settings and dramas.

These qualities are to the forefront in his bracing new film, Amour, in which a middle - class French couple in their 80s, Georges and Anne Laurent, both music teachers, live out the final months of a long marriage.

Set just before the start of World War II, the film chronicles the complicated web of conflicts and romances that emerge when a group of upper - class acquaintances gather for a weekend at a French château.

On A Clear Day is a film adaptation of the popular Alan Jay Lerner musical of the same name (currently enjoying a highly successful revival in the West End) and is the story of a chain - smoking clairvoyant collegiate Daisy Gamble (Barbra Streisand) who, desperate to kick her smoking habit, seeks the help of respected French psychiatrist Marc Chabot (Yves Montand) who is teaching a class on campus.

• Dennis Lim, meanwhile, chats it up with «Class» director Laurent Canet in the wake of his film landing the official French foreign film selection for this year's Academy Awards.

For Greenbaum, it was watching Monty Python's The Holy Grail with his father; for Greenfield it was watching French New Wave films in a world cinema class at Santa Monica's Crossroads School.

Film critics and Seattle film mavens Robert Horton, Richard T. Jameson, Kathleen Murphy and Bruce Reid discuss Raw, the first offering by French director Julia Docournau, and offer a master class on veteran filmmaker Walter Hill and his new thriller, The Assignment.

Besson showcased parkour in Taxi 2 (1998) and Yamakasi (2001), but pairing the art form with a story about the urban class war, a tension that would erupt into riots in Paris the following year, makes for a uniquely French exploitation film.

This film plays as a pale imitation of that one, with less characters the love geometry is less complicated, and the film lacks all the social commentary of the other, with it's intersecting relationships between the various French classes on the eve of World War II and it's complex nostalgia for a more civilized time.

John and I also discuss the slate of films playing this month at the Brattle, The Coolidge Corner Theater, and the Harvard Film Archive; including Class of 1984, The French Connection, and the films of Woody Allen.

In this film Marie Guyomarc» h, a secondary French teacher, goes to investigate how Lisa Stevens who teaches Spanish to primary children, makes use of online communities in her classes.

Recently, I have used the French short film «Quai de Seine» from «Paris je t» aime» with a Year 9 class.