A. 求法国电影love me if you dare（两小无猜）的英文字幕
字幕来自射手网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/两小无猜/敢爱就来
B. 急需英文版《法国电影的一些倾向》，谢谢啦！！
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. 法国电影/
筋疲力尽
广岛之恋
四百击
最后一班地铁
这个杀手不太冷
出租车
虎口脱险
帝企鹅日记
埃及艳后的任务1，2
你的生命如诗般美丽
第五元素
圣女贞德
基督山伯爵
象棋手
竞选总统
蝴蝶
老枪火之战
游戏规则
黑郁金香
难兄难弟
D. 求法国电影tomboy高清完整版和《男孩别哭》。字幕最好是中英文字母都有 只有中文也行
网络-申城巷，全部高清的
请采纳
E. 求法国电影Le papillon（蝴蝶）高清下载地址
用奇艺试试，这电影很好。http://www.iqiyi.com/dianying/20100420/n4433.html
F. 有一部老电影，是法国片（名字是英文）好像是从早上到晚上这样依次的
美国和欧洲多国合拍的电影
《日出之前》（爱在黎明破晓前）Before Sunrise 1995
《日落之前》（爱在日落黄昏时）Before Sunset 2004
《午夜之前》（爱在午夜降临前）Before Midnight 2013
三部电影主创均为原班人马，由伊桑·霍克和朱丽·德尔比主演，很好的文艺爱情电影。
故事讲述了两个在欧洲旅行的年轻人偶然邂逅的故事，男主角和女主角每隔九年邂逅一次，具体剧情就不透露了，建议楼主从头看。
G. 求一些好看的英法国电影
英国的：《超完美夺分》
《诺丁山》英国爱情片的代表~
《救赎》很好看~
《英国病人》经典，貌似得过奥斯卡最佳电影~
《傲慢与偏见》个人觉得这一版拍的不错，和原著差距不大~
《真爱至上》
《四个婚礼和一个葬礼》
《BJ单身日记》这个很搞笑的~
《冷翡翠之恋》
《金色苏西》
法国的：《TAXI》系列（一共三部）在法国相当之受欢迎的~
《你丫闭嘴》中国观众很喜欢的的法国喜剧~
《天使爱美丽》奥斯卡最佳外语片提名~
《埃及任务》
《皇牌警差》
《蓝》《白》《红》三部曲：几乎所有的法国人都知道的片子 ，但是有点难懂~
《两小无猜》
《任性天使》
《隔壁恋人》细腻又带点深沉的爱情片~
《非常公寓》
《云上的日子》巨星联袂出演~
《蝴蝶》温馨童真的电影~
《放牛班的春天》 奥斯卡最佳外语片提名；算是音乐剧，里面的原声音乐超好听~
《初吻》苏菲·玛索主演的第一部电影~
《芳芳》 也是苏菲·玛索主演的爱情片~
《暴力13区》结合了中国功夫~
《凡高传》这个不用说了吧，经典~
《高卢夺宝》发生在中国的动画片~
《漫长的婚约》
《芳芳郁金香》是中法文化年的开幕电影 ~
《迁徙的鸟》 很美的记录片 ~
都是我挺喜欢的，希望你也喜欢~~
H. 想找一部法国电影的中文和英文名字
片 名： Banlieue 13
译 名： 暴力街区 | 第十三区
导 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
区剧情介绍：
巴黎，2013年，一堵墙把落后地区与其他地区隔离开来，那里没有法律，没有制度，并且被黑社会集团所控制，他们胆大包天，无恶不作。
达米埃是警察局的一个精英，是特殊行动小组的高级督察，也是武术高手，非常善于打入敌人内部。他完成任务以 迅速、敏捷、准确着称。
这一次，政府交给了他一个在他职业生涯中最棘手的任务，一个具有大规模杀伤性威力的武器被十三区最凶猛的黑帮偷走了。
达米埃的任务是要除去这个大规模杀伤性武器的爆炸系统，为此他必须与雷伊托合作，因为雷伊托是唯一知道这个黑帮内幕的人，并且雷伊托也要营救他落入黑帮手中的妹妹。