A. 求法國電影love me if you dare（兩小無猜）的英文字幕
字幕來自射手網http://www.shooter.com.cn/
1CD的版本
http://shooter.cn/sub/detail.html?id=9979&film=jeux%20d
2CD的版本
http://shooter.cn/sub/detail.html?id=33270&film=Love%20Me%20If%20You%20Dare/兩小無猜/敢愛就來
B. 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.
C. 法國電影/
筋疲力盡
廣島之戀
四百擊
最後一班地鐵
這個殺手不太冷
計程車
虎口脫險
帝企鵝日記
埃及艷後的任務1，2
你的生命如詩般美麗
第五元素
聖女貞德
基督山伯爵
象棋手
競選總統
蝴蝶
老槍火之戰
游戲規則
黑鬱金香
難兄難弟
D. 求法國電影tomboy高清完整版和《男孩別哭》。字幕最好是中英文字母都有 只有中文也行
網路-申城巷，全部高清的
請採納
E. 求法國電影Le papillon（蝴蝶）高清下載地址
用奇藝試試，這電影很好。http://www.iqiyi.com/dianying/20100420/n4433.html
F. 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。
G. 求一些好看的英法國電影
英國的：《超完美奪分》
《諾丁山》英國愛情片的代表~
《救贖》很好看~
《英國病人》經典，貌似得過奧斯卡最佳電影~
《傲慢與偏見》個人覺得這一版拍的不錯，和原著差距不大~
《真愛至上》
《四個婚禮和一個葬禮》
《BJ單身日記》這個很搞笑的~
《冷翡翠之戀》
《金色蘇西》
法國的：《TAXI》系列（一共三部）在法國相當之受歡迎的~
《你丫閉嘴》中國觀眾很喜歡的的法國喜劇~
《天使愛美麗》奧斯卡最佳外語片提名~
《埃及任務》
《皇牌警差》
《藍》《白》《紅》三部曲：幾乎所有的法國人都知道的片子 ，但是有點難懂~
《兩小無猜》
《任性天使》
《隔壁戀人》細膩又帶點深沉的愛情片~
《非常公寓》
《雲上的日子》巨星聯袂出演~
《蝴蝶》溫馨童真的電影~
《放牛班的春天》 奧斯卡最佳外語片提名；算是音樂劇，裡面的原聲音樂超好聽~
《初吻》蘇菲·瑪索主演的第一部電影~
《芳芳》 也是蘇菲·瑪索主演的愛情片~
《暴力13區》結合了中國功夫~
《梵谷傳》這個不用說了吧，經典~
《高盧奪寶》發生在中國的動畫片~
《漫長的婚約》
《芳芳鬱金香》是中法文化年的開幕電影 ~
《遷徙的鳥》 很美的記錄片 ~
都是我挺喜歡的，希望你也喜歡~~
H. 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。