Camera Lucida Or French Cinema With Love

French cinema can begin with the Lumière brothers, but in no case ends with them. Storytelling within a single text is just as frivolous and impossible as it would be to take the French literature into a single article. So again, we resort to pure subjectivism, and will tell you about 3 of our favorite French films that are not so popular, but bring back the spirit of the French chic in cinema. We recommend them as a great way to prolong the after-taste of an abundant French dinner. They are just as suitable for before dinner time.

Clouds Of Sils Maria

Nominated for Cannon Golden Palace The “Clouds of Sals Maria” is one of those rare films that occupy the stories of the colossus in the cinema and succeed in giving them a new reading. Oliver Asayas’s film uses the power of a plot borrowed by Ingmar Bergman, along with the footage of legend Jean-Luc Godard. We see an aging actress in the role of the lovely Juliet Binoche who finds an unexpected mirror of her youth in the actress who has to play the role she has started her career. In this seemingly exploited plot, Assyas, who not only directs but writes the film, cleverly introduces the most intimate topics dealing with people in the 21st century – alienation, constant doubt as to whether we have a voice in such a big world, old age as a trauma and, of course, the central theme of sorrow. Filmed with the eagerness of the clouds from his title, Asian’s film with fine footsteps leads us to the unexpected answers to the meaning we succeed or not to give to our lives.

Holy Motors

“Holly Motors” by Leon Carraces (nickname of Alexander Oscar) is a film-attraction, an impetuous journey through Parisian secrets with a white limousine. In it we find the mysterious Oscar, played by Denny Levan, who engages us in an endless game of masks, transformations and stories of absurdity. With each shot, we ask what Holly Motors is, what this film says, until we realize that it is the oddity of personality, music, and the joy of life with all its miseries and strangeness. Visually stunning, played and directed to perfection, and with a soundtrack that is almost alive and a hero of the film, Holly Mott is a film about everything and nothing, but mostly about the complete freedom of creativity and the indescribable gift of human life. To make such a film, it takes madness and inexhaustible love for cinema that Hollywood seemed to forget.


Called as an artist of the scandal, battered but also world-renowned, with a dangerously high percentage of viewers coming out of the screenings, Caspar Noah is a director to whom one can not remain indifferent. This was also his new film, which had won several prestigious awards, marking a new stage in the director’s development, a certain maturity that had not been missed even by his opponents. In Climax, Noah returns to naturalistic cinema, using only one person in the show business, Sofia Bootela, to tell us, or more accurately, tell the story of a group of dancers trained in an abandoned academy that soon becomes the arena of their fears, desires and secrets. But Noah does not stop here, but we dive even deeper into the psyche of the characters, who at the end of the film merge into a pulsating body. This is an experiment on the deep connection between people, achieved not only through language, but also through the touch that is becoming more traumatic in the modern world. Or, to paraphrase a famous German philosopher: “I believe only in God who can dance.”