法國英語電影

㈠ 求10部好看的法國電影

天使愛美麗，兩小無猜，放牛班的春天，蝴蝶，的士速遞（123），巴黎我愛你，盧浮魅影，虎口脫險，芳芳，這個殺手不太冷，第五元素。這些是最廣為流傳的法國電影，其中一小部分拍攝時用的是英語。
不太流傳的法國電影就很多很多了。。豆瓣上可以找到很多。

㈡ 跪求法國電影蝴蝶Le.Papillon的英文字幕

不可能有現成的台詞的。。

唯一的辦法就是在下一部片子。。中英雙語的。。

或者去 射手網。 下載中英雙語字幕

㈢ 跪求法國電影le papillon也就是蝴蝶的英文版較好的影評。本周末內完成。

Julien (Michel Serrault) is a bitter old man in the midst of an emotional desert. His collection of butterflies constitutes his sole passion. One day, he makes his new little neighbor's acquaintance, Elsa (Claire Bouanich), visibly neglected by her mother but looks unfavorably on her intrusion in his life. One day, he's going to the Alps to try to find a rare species of butterfly, the Isabelle and for his greatest pleasure, Elsa invited herself to the trip...

If you ever want to spend an evening in front of a DVD and if you search for originality, then this Philippe Muyl's flick hasn't your name on it. How many times have we seen the eternal recipe of a friendship story between a grumpy old man and a little girl as fresh as a daisy? Making Julien and Elsa go into the Alps to try to discover the Isabelle is a pretext to bring them together and make them know each other. At first, it's hostility. At the end, complicity prevails. Between the two poles, a scheled psychological evolution. In short, on the surface "the Butterfly" (2002) smells the reheated. However, although Muyl has limited talents as a film-maker (the success of "Cooking and Dependences" 1993 is to be attributed to the tandem Jean-Pierre Bacri/Agnès Jaoui), there's something warm in his work. The presence of the little Claire Bouanich is partly responsible of it. She's so gorgeous of freshness and spontaneity that it would take a heart of stone to resist her. Definitely no Shirley Temple. She sees in Julien, the grandfather she would have liked to have and especially an experienced person to take care of her. Getting in contact with him, she learns life with its joys and sorrows and her hill-walking is rich in learning lessons so that it's nearly an initiatory travel for her. Beside her, Michel Serrault is excellent as usual.

Tenderness for his two main characters, preposterous explications but adapted to a child's faculties of understanding to bring touches of humor (did you know that shooting stars are locks of hair God loses?). Philippe Muyl mixes these two things and by letting oneself slip into this touching story, one just has to be charmed along the way and the work is done. And it works rather well. There's a feel-good factor that dominates our minds throughout the projection and sometimes it's comforting to feel this. Moreover, the wild beauty of the Alpin countryside is highlighted to add a decent amount of poetry.

But probably to avoid a break of tone, the director erased as much as possible dramatic sides of the story, particularly the hateful misunderstanding according which Julien is suspected to have kidnapped Elsa when she left of her own free will. During the time the two protagonists are in the mountains, this point is taken to the back seat and after Elsa fell into the hole and help rescue her, Julien is taken to the police station but we can watch him leaving it rather freely without any trouble. Philippe Muyl glossed over this point. Fortunately, that doesn't muck up the bliss of the projection but beware Mr Muyl! You came close to disaster! At the end of the road, the most cynical ones will only probably see a simpering flick without any real depth and tailor made to furnish an evening in front of the telly. As for the others: if you are sick of watching violent or bloody movies à la "Kill Bill" (2003/2004), why not having a break with this certainly stereotyped proct but so cute which surfs on the wave of unexpected popular movies like "une hirondelle a fait le printemps" (2001) through the simple philosophy it brings out: earth connection, a return to the basic pleasures of life.

㈣ 求10部英語電影

我就介紹幾部個人計較喜歡的電影.
愛情:暮光之城3部曲(暮色、新月、月食)——必看
堅強:古墓麗影1、2部
友情：新娘大作戰
動作：史密斯夫婦
喜劇：初戀50次
驚悚：禁閉島
恐怖：死神來了1－4部（美國經典恐怖片）
都是英語的，而且內容都是現在很多高中生都喜歡看，不是那種很久以前的經典舊作，都是比較新的電影。希望你能喜歡。在這里不得不提的就是暮光之城3部曲，每一部我都看的心碎，非常感人，簡直是言語不能表達。你一定要看這一個系列。

㈤ 有一部老電影，是法國片（名字是英文）好像是從早上到晚上這樣依次的

美國和歐洲多國合拍的電影
《日出之前》（愛在黎明破曉前）Before Sunrise 1995
《日落之前》（愛在日落黃昏時）Before Sunset 2004
《午夜之前》（愛在午夜降臨前）Before Midnight 2013
三部電影主創均為原班人馬，由伊桑·霍克和朱麗·德爾比主演，很好的文藝愛情電影。
故事講述了兩個在歐洲旅行的年輕人偶然邂逅的故事，男主角和女主角每隔九年邂逅一次，具體劇情就不透露了，建議樓主從頭看。

㈥ 法國人學英語的那個電影名字 就是學習說要買漢堡的那個

粉紅豹，謝謝。有兩部

㈦ 急需英文版《法國電影的一些傾向》，謝謝啦！！

The French New Wave and its Impact on French Cinema

The French New Wave has become one of the most prominent
'movements' in the context of non-Hollywood cinema. New Wave
directors have acquired international stature and their films are still
readily available. The French New Wave has had a considerable
influence on world cinema over the last 40 years, and has left an
important legacy for subsequent generations of directors in France
and beyond (e.g. Martin Scorsese, John Woo, Quentin Tarantino,
Arthur Penn, Robert Altman). The New Wave has also been the
subject of considerable critical and scholarly attention.

The young critics at 『Cahiers cinéma』

At the origin of the New Wave was a cinema journal 『Cahiers
cinéma』 and the development of a critical notion 『la politique des
auteurs』, which both grew increasingly influential in the 1950s as a
reaction to the mainstream 'quality tradition' on the one hand, and
to enthusiastic cinephilic interest in a few distinctive directors
working in Hollywood on the other.

As early as 1948, a young director, Alexandre Astruc, wrote an
influential article in the cinema journal 『L'Écran Français』 entitled 'La
caméra stylo' (the camera-pen), which associated the work of the
film director to that of the writer.The young critics of 『Cahiers』 later
adopted this as a manifesto: the camera used as a pen creates its
own unique language, and the images (and the dialogue) add nuance
and develop the narrative.

In 1951, Jacques Doniol-Valcroze and André Bazin founded a new
journal, 『Cahiers cinéma』, which focused on film reviews and
theoretical discussions, and was to play a major part in the evolution
of critical analysis in the 1950s and the emergence of the New Wave
(roughly 1958-68 – the end date of this New Wave is still debated).
André Bazin, whose influence as a critic had been increasingly
recognised since the forties, was also the one who introced to
Cahiers a number of enthusiastic young intellectuals who wrote
passionately about cinema: Eric Rohmer, Jean-Luc Godard, Alain
Resnais, Claude Chabrol and François Truffaut. The latter was
noticed as early as 1954 for a particularly virulent attack on
contemporary mainstream French quality, which he renamed
'cinéma de papa' in an essay entitled 'A Certain Tendency of French
Cinema' which criticised the uniform and unimaginative form of the
dominant French proctions of the time.

In the meantime, the intensive critical writings of the 『Cahiers』
team focused on the work of specific directors/ auteurs, and on the
'mise-en-scène' strategies which identified their films. 'Mise-enscène'
(or stage direction) in this context refers to the shooting,
camera use, actor direction, sequencing, editing and all aspects of
filming.『Cahiers』 praised certain 『American』 directors who refused to
play the game of the Hollywood studios or looked to subvert
traditional film-making from within, such as John Ford, Howard
Hawks,Alfred Hitchcock and Fritz Lang who by then had moved to
the US. They also analysed popular genres which had never been
deemed worthy of critical attention (e.g.Westerns and B-movies).
『Cahiers』 also supported some European directors, particularly the
Italian neo-realists (Truffaut even worked for Rossellini), and
provided new analyses of French classics such as the films of Jean
Renoir and Jean Vigo.These films and their directors were defended
brilliantly and wholeheartedly (with excessive zeal at times. as they
recognised later), and they were to influence greatly the first films
that Truffaut, Godard, Chabrol, etc. made at the end of the decade.

New Wave directors

Even though it has become a landmark in world cinema, the French
New Wave was not originally conceived as a cinema movement nor
a school, but rather was the result of specific socio-cultural
circumstances. A number of important technical developments (for
example, new, lighter cameras; faster, more light-sensitive film;
synchronous sound equipment and the advent of television), took
place in the second half of the 1950s, which coincided with the
emergence of a new generation of critics, actors and directors.The
phrase 'New Wave' was coined by a journalist (Françoise Giroud,
『L'Express』 1957) in the context of the emergence of the Fifth
Republic in 1958, and then used to define film proction from
1959-60, but the movement was never really accepted by its main
protagonists – actors, scriptwriters and directors – who insisted on
the diversity of their indivial artistic pursuits.

An important corpus of literature around the New Wave
directors is available in English, making it rendant here to try and
summarise the role of each member of the group of friends and
network of relations which played a central part in the New Wave's
first film explosion in 1958 and 1959. Suffice to say that the group of
new young directors who were included under the umbrella phrase
of the New Wave brought in new ideas, the enthusiasm of youth and
a sense of freedom into French cinema.Their different projects and
priorities may account for the diversity in the evolution of their
careers. Godard, for example, was the intellectual of the group
interested in formal experiments, and later became politically
involved; Truffaut's films combined humanism, emotion and
sensitivity; Rohmer developed a unique style close to literature and
philosophical discourse; Resnais experimented with form, montage,
time and space; while Chabrol embarked on a prolific, if uneven
career mixing film noir and social satire.

New Wave directors functioned as a group, and one of the
reasons why they were often considered as a movement was that
they worked together, exchanging ideas, screenplays, technicians and
even actors. This collaboration certainly helps explain some
common characteristics in the films that were, and still are,
associated with the New Wave.

㈧ 推薦一些英文電影

《肖生克的救贖》《阿甘正傳》《獅子王》（比較簡單，容易明白）《珍珠港》(即練習了英語又看了大片）《西雅圖不眠夜》《網路情緣》等
其實 湯母漢克斯（阿甘）的作品都挺適合學英語的。還有朱麗亞羅伯茨的也不錯，像《諾丁山》。
劇集我覺得《走遍美國》(適合初級）《六人行》《越獄》都挺好的。

㈨ 想找一部法國電影的中文和英文名字

片 名： Banlieue 13

譯 名： 暴力街區 | 第十三區

導 演： ( Pierre Morel )

主 演： ( Cyril Raffaelli) ( David Belle) ( Tony D'Amario) ( Bibi Naceri) ( Dany Verissimo) ( François Chattot)

上 映： 2005年06月10日

區劇情介紹：

巴黎，2013年，一堵牆把落後地區與其他地區隔離開來，那裡沒有法律，沒有制度，並且被黑社會集團所控制，他們膽大包天，無惡不作。
達米埃是警察局的一個精英，是特殊行動小組的高級督察，也是武術高手，非常善於打入敵人內部。他完成任務以 迅速、敏捷、准確著稱。
這一次，政府交給了他一個在他職業生涯中最棘手的任務，一個具有大規模殺傷性威力的武器被十三區最兇猛的黑幫偷走了。
達米埃的任務是要除去這個大規模殺傷性武器的爆炸系統，為此他必須與雷伊托合作，因為雷伊托是唯一知道這個黑幫內幕的人，並且雷伊托也要營救他落入黑幫手中的妹妹。