Jean-Christophe Bouvet Movies

French success d'estime Luc Besson (La Femme Nikita) follows up his children's fantasy Arthur and the Invisibles (2006) with this high-adrenaline, action-charged crime comedy that he produced and scripted but did not direct. At the heart of the tale is a nitwit Marseilles cop, Police Commissioner Gilbert (Bernard Farcy), prone to making outrageous blunders such as mistaking soccer star Djibril Cisse (in a cameo) for an illegal immigrant, and a hotel chambermaid for a terrorist. The other major member of the force is Emilien (Frederic Diefenthal), a hard-working soul, yet one perhaps too genial to be a cop. He's best friends with taxicab driver Daniel (Samy Naceri), an individual low-key to the point of anemia; their young sons enjoy playing together. As the tale opens, a manically insane, hyperactive Belgian criminal, "La Belge," (Jean-Luc Couchard) undergoes extradition to trial in Africa; en route, he temporarily lands in the Marseilles police department for a few hours and bamboozles Emilien into believing that he's actually a Belgian embassy employee railroaded by the real crook, who is now at large. Emilien foolishly buys the story and sets La Belge free -- prompting an outrageous and explosive series of complications. Meanwhile, Emilien's achingly beautiful wife (sex symbol Emma Sjoberg-Wyklund) has been assigned to infiltrate La Belge's gang on an undercover level -- so far undercover that Emilien himself isn't even aware of her role. Upon release, Taxi 4 shot to the top of the French box office charts to qualify as a local blockbuster, topping numerous American releases in the process. ~ Nathan Southern, Rovi

Writer and director Sofia Coppola puts a new spin on the life and times of one of Europe's most infamous monarchs in this lavish historical drama which fuses a contemporary sensibility with painstaking recreations of the look of the 18th century. Born to Austrian nobility, Marie Antoinette (Kirsten Dunst) is only 14 years old when she's pledged to marry Louis XVI (Jason Schwartzman), the 15-year-old king of France, in an alliance that has everything to do with politics and nothing to do with love. Sent to France and literally stripped of her former life, Marie weds Louis, but to the consternation of the royal court, he seems either unwilling or unable to consummate the marriage while their advisors clamor for an heir to the throne. Young and more than a bit out of step with the new life that's been thrust upon her, Marie gives herself over to the pleasures of life in Versailles, knowing and caring little of the political intrigue that surrounds her. In time, Marie's trusted older brother, Joseph (Danny Huston), is brought in to coach Louis on the finer points of marital relations, and before long the couple is finally blessed with a child. However, as Marie tends to her children in the gilded cage of her palace and enjoys an affair with a Swedish nobleman, political power plays are throwing France into chaos, and the growing ranks of the poor rebel against the royals and their life of privilege. Also starring Rip Torn, Judy Davis, Steve Coogan, and Asia Argento, Marie Antoinette was given a controversial reception when it premiered at the 2006 Cannes Film Festival. ~ Mark Deming, Rovi

Legendary French filmmaker Jean-Luc Godard once again poses a number of provocative questions about art, politics, and the nexus point between them in this drama in three acts, "Hell," "Purgatory," and "Paradise." After a collage of film clips illustrate a meditation on the nature of war and conflict in society, Godard introduces his central set piece, in which a group of authors, artists, and noted thinkers gather for a symposium taking place in the battle-scarred city of Sarajevo. Olga Brodsky (Nade Dieu) is a young journalist who is French and Jewish by birth and Israeli by choice; she has come to discuss the conflict between her adopted nation and Palestine with some of the many notables in attendance, in particular a celebrated Palestinian author. As Olga wrestles with issues of conflict, identity, and culture along with others at the conference, one of the participants, Jean-Luc Godard, points out the frustrating similarities between the grammar of cinema and human nature, and posits the notion that it's the essential differences of the peoples of the world, rather than their similarities, which are at the root of our culture. Notre Musique was a prizewinner at the 2004 San Sebastián International Film Festival, where it was named Film of the Year. ~ Mark Deming, Rovi

In this tart comedy from France, Raphael (Edouard Baer) is a glib but talented author who has built a career out of ghost-writing autobiographies for a variety of celebrities. Raphael is also happily dating Muriel (Marie-Josée Croze), a successful architect, but that begins to change when he begins his latest project, a book on soccer superstar Kevin (Clovis Cornillac). While wading through Kevin's monumental ego and strange creative notions is a challenge in itself, what really sets Raphael's mind off course is the discovery that Kevin is dating Claire (Alice Taglioni), the object of Raphael's unrequited affection while he was in college. Raphael is suddenly determined to win Claire away from Kevin, though he hasn't figured out how to do this without alienating his wife and his client. Mensonges et Trahisons et Plus Si Affinité (released in English-speaking territories as The Story of My Life) was screened in competition at the 2004 Avignon Film Festival. ~ Mark Deming, Rovi

Luc Moullet's Les naufrages de la D 17 (Shipwrecked On Route D 17) is a quirky comedy. Racecar driver Paul (Patrick Bouchitey) becomes stranded in a village in the French Alps. He partner goes to find help. While they hunt for assistance, a film crew is making a western. At the same time, a military man believes he is hunting down an Iraqi pilot. ~ Perry Seibert, Rovi

The thoughts and dreams of a group of people riding a subway in Paris provides the springboard for Jean-Claude Guiguet's drama Les Passagers/The Passengers. As the train rolls along, various characters either talk among themselves or address the camera on a variety of subjects. A mathematician (Bruno Putzulu) speaks with one of his students (Stephane Rideau) about the statistical implications of the spread of AIDS. A nurse (Fabienne Babe) meets with a security guard she's infatuated with (Philippe Garziano), while her friend enjoys a daydream about the joys of life as a rural housewife. A man rants about problems with sex and the virtues of masturbation, while another person debates the relative merits of the films Savage Nights and The Mother and The Whore. Les Passagers/The Passengers was screened as part of the "Un Certain Regard" series at the 1999 Cannes Film Festival. ~ Mark Deming, Rovi

The directorial debut of Manuela Viegas, Gloria is an adolescent rite-of-passage tale set against the backdrop of a rural landscape slowly disappearing in modern Portugal. The small border town of Vila de Santiago, once a booming trade center for illegal trafficking, is about to become a ghost town. A new motorway is to bypass the city, the railway station is being closed, and its stationmaster, Vincente, is preparing to retire. Many young people have moved out, leaving the children to be brought up by elderly neighbors, including a streetwise thirteen-year-old named Gloria. Gloria finds it hard to stay in one place very long; she likes to play on the hills and in between the ruins. A drizzly autumn has come on, and the smell of charred trees and shrubs (victims of a terrible forest fire) still fill the air. The young girl's life is suddenly changed by the arrival of Vincente's son, Mauro, who has just come out of prison and is ready to settle some accounts. Rumor has it that it was Mauro who burnt Vincente's house. As soon as he makes his appearance, Mauro begins to charge around the station on his motorbike, threatening his brother, while Gloria's friendship with Ivan is put to test on account of her attraction to Mauro. Director Viegas has been working as an editor since the late 1970's, which is evident in her work. At the heart of Gloria is a strong sense of time -- the seasons following one another, the community slowly dying. things happening that change the young lives irrevocably. Gloria was screened in competition at the 49th International Berlin Film Festival in 1999. ~ Gönül Dönmez-Colin, Rovi

This French comedy parodies horror movies and detective films. It is set at the Cannes Film Festival. There, Odile, a sincere publicist, tries to promote the horror movie "Red Is Dead." The movie tells of a killer in a welding mask who wields a hammer and sickle with deadly results. The trouble begins when a real killer with the same m.o. begins knocking off projectionists at market screenings. In true publicist form, Odile immediately brings the film's star to the festival. To protect him, Odile hires a handsome bodyguard. Odile finds herself romanced by a police commissioner. Meanwhile a stranger lurks in the distance. ~ Sandra Brennan, Rovi

This award-winning drama follows the romantic and sexual misadventures of a bisexual, HIV-positive Frenchman as he searches for meaning in his life. Jean (Cyril Collard, who also directed), a successful photographer, dates women but has furtive sex with men on the side. When he meets Samy (Carlos Lopez), an aimless, half-Spanish young rugby player, Jean easily steals him right from under his girlfriend's watchful eyes. Just months after learning that he's HIV-positive, Jean only practices safe sex with his male partners. The same isn't true of his relationship with Laura (Romane Bohringer), an intense 17 year old whose combination of youthful exuberance and world-weary cynicism captivates him. The first night they make love, Jean struggles to warn Laura of his HIV status, but her emotional nakedness and his own confusion prevent him. When he finally does tell her, she's more concerned about living life without him than she is about the danger into which he has put her. Laura's mother (Corine Blue) struggles to steer her daughter toward a more suitable match, especially after Jean stops hiding his liaison with Samy. Vacillating from one extreme and one lover to the other, Jean unwittingly wreaks emotional havoc in Laura's life. Meanwhile, Samy finds himself slowly drawn into Jean's orbit and seems to have no problem with the ambiguity involved. He also dabbles in violent sex and even racist nationalism -- all reactions to his complex, troubled family life. As Laura spins out of control and Samy drifts away, Jean tries to make some sense of his own destructiveness; all the while, his illness progresses. Adapted from director Collard's own novel, Les Nuits Fauves won the filmmaker a French Cesar for Best Debut Director just days after he died of AIDS-related illness. ~ Brian J. Dillard, Rovi

A slow, complex and involving tale of a French priest and his moral trials and tribulations, Under the Sun of Satan is adapted from the Georges Bernanos novel of the same name. Father Donissan (Gerard Depardieu) struggles to save the soul of the 16-year-old pregnant woman Mouchette (Sandrine Bonnaire) in this allegorical drama. She is the mistress of a married politician, but she carries the child of a poor nobleman. Mouchette shoots and kills the nobleman when he refuses to run away with her, and the emotionally tortured Donissan flagellates himself with a chain and despises his superior Menou-Serais (Maurice Pialot). This dramatic struggle of good versus evil took the Golden Palm Award for Best Film at the 1987 Cannes Festival. The selection was not without controversy, as the verbal protests of the audience led to an obscene gesture from the miffed director. ~ Dan Pavlides, Rovi