Abstract The twenty-first century has seen banlieue film expand as a filmic category. Of particular note, female directors and characters have entered banlieue film in earnest, thereby disrupting what had been male-centred films and film-making. Also, new trends and methods sometimes pulling in different directions have impacted the diversification of banlieue film. I consider Brooklyn (2014) in relation to Bande de filles (2014) for the primary reason that they broke new ground by featuring lead black actresses. Then I focus on guerrilla film Brooklyn to explore how a new wave of film-making in France has contributed to decentralizing and renewing the filmic category. In this article, then, gender and genre function as the primary critical lenses to survey the evolution of banlieue film.

中文翻译：

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Banlieue 电影中的性别和类型，以及布鲁克林游击队电影

摘要 21 世纪，班里电影作为一个电影类别得到了扩展。尤其值得一提的是，女性导演和女性角色已经进入了半场电影，从而颠覆了以男性为中心的电影和电影制作。此外，有时会向不同方向拉动的新趋势和方法也影响了班利埃电影的多元化。我认为布鲁克林 (2014) 与 Bande de Filles (2014) 的关系主要是因为他们通过主演黑人女演员开辟了新天地。然后我专注于游击电影布鲁克林，探索法国新一波的电影制作浪潮如何促进电影类别的去中心化和更新。因此，在本文中，性别和流派作为主要的批判镜头来考察班利埃电影的演变。