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Since the beginning of the 2000s, the revitalization of the French crime film has been embodied in three major trends: the rise of the American‐style thriller, which appeared in the wake of The Crimson Rivers (Mathieu Kassovitz, 2000); the revival of “old‐style” film noir, brought back to life by 36th Precinct (Olivier Marchal, 2004); and the flourishing of the social crime film, which became popular...
The diversity of recent popular French films suggests that something quite like “blockbuster” cinema has found a home in an industry previously known for resisting its lures. This chapter surveys the shared politico‐economic history behind Hollywood “clones” like Taken (Morel, 2008), breakout comedies like Intouchables / The Intouchables (Toledano and Nakache, 2011) and stylish prestige pics like...
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