Cinema du Look was a French film movement from the 1980s into the 1990s. As implied by the movement’s name, the focus of cinema du look was the “look,” or the visual aesthetic of the films. Filmmakers focused in on the underbelly of French society as well as French pop culture, creating a distinct visual atmosphere. Critics of cinema du look have accused filmmakers of using the philosophy of “style over substance,” concentrating on the mastery of technical aspects rather than story and character. However, cinema du look does have a distinct story aesthetic that parallels the visual and technical … Continue reading Genre Overview

The Big Three Jean-Jacques Beineix Diva (1981), Betty Blue (1986), Roselyne et les lions (1989) Luc Besson Subway (1985), The Big Blue (1988), La Femme Nikita (1990), Léon: The Professional (1994) Leos Carax Boy Meets Girl (1984), Mauvais Sang (1986), The Lovers on the Bridge (1991)     Sources: <http://www.tasteofcinema.com/2014/10-essential-films-for-an-introduction-to-cinema-du-look/&gt; <http://www.imdb.com/list/ls073711100/&gt;   Continue reading Key Filmmakers

This still exemplifies the thematic ideas of alienation, misery, and doomed love present in cinema du look. Mathilda is the epitome of an outcast; she is a girl with no family or friends and no place to go. She falls in love with Léon, but that relationship is doomed from the start. Mathilda holding a gun to her head in despair, asking Léon to prove his love for her creates a representation of the dark thematic undertones, as well as an intriguing visual image. The stark contrast of a 12-year-old girl with a pistol held to her own head crafts … Continue reading “Léon: The Professional” Still

This still is another example of the theme of isolation that is present throughout cinema du look. The interplay of light and shadow on the faces of the kissing couple imply that it does not matter who they are, but rather who the main character Alex is not. The couple is in the foreground, and Alex is in the background, showing how he is isolated from his own life. The romance of the street, river, and street lamps juxtaposes the despair of Alex’s isolation, shaping a distinct visual style.   Image: <http://bombmagazine.org/article/1000226/leos-carax-s-i-boy-meets-girl-i&gt;   Continue reading “Boy Meets Girl” Still

This still shows a different kind of isolation. Though opera singer Cynthia is surrounded by people listening to her sing, she is separate from their experience as she has never recorded herself and thus never heard herself sing. This type of isolation is expressed through a close up of Cynthia, showing her in the foreground and blurred others in the background; even though she is the center of attention, she is still alone. The colors in this still and in this film are bright, in contrast to the black and white and sepia tones of the other films. This still … Continue reading “Diva” Still

“Window Shopping”? Aesthetics of the Spectacular and Cinema du Look The paper ““Window Shopping”? Aesthetics of the Spectacular and Cinema du Look” by Patricia Allmer of Loughborough University in the UK discusses common analytical thought on cinema du look, and throws all these preconceived notions out the window. Critics of the genre are known to argue that the films of cinema du look have no substance but rather focus only on style, taking a pro-advertising, ultra-capitalistic stance. Allmer argues that there is more depth to cinema du look than that, saying that these directors are reclaiming the art that the capitalistic … Continue reading Critical Essays

Mise-en-scène is a critical element within all film, but particularly within cinema du look. Lighting, color, and props all play significant roles in Léon: The Professional, Boy Meets Girl, and Diva; in fact, these roles could be considered more important than the actors themselves. The color tone of each film is crucial in creating the visual atmosphere so famous of cinema du look. Besson structures Léon: The Professional in all sepia tones; the costumes, set pieces, and settings of the film are draped in a sepia coloration. This choice of stark, drab color accents props – for instance, the large … Continue reading Analysis of Mise-en-scène

Sepia tones in costumes, props, and set. Contrast of innocence and corruption in Mathilda. Instances of isolation and alienation among principle characters. Bright explosions or blood in contrast to sepia tones. Doomed young love between Mathilda and Léon. Overt instances of misery, particularly in Mathilda. Props – such as weaponry – brighter or shinier in color/tone than the rest of the sepia world. Tragic ending.   Image: <http://mentalfloss.com/article/69489/11-expert-facts-about-leon-professional&gt; Continue reading What to Watch for in “Léon: The Professional”