ABSTRACT

In 2019, Jacques Audiard’s eighth feature film, Les Frères Sisters, was nominated for nine César awards and headlined both the UniFrance and Alliance Française French Film Festivals. However Les Frères Sisters/The Sisters Brothers (2018) features no French dialogue, actors, settings or filming locations. Indeed, a growing number of recent films are being labelled as French by national cinema bodies ranging from the CNC to UniFrance and the Césars Academy, despite few clearly ‘French’ characteristics. This article analyses a selection of transnational, transcultural and translingual case studies which have been distributed as French, concentrating on Les Frères Sisters, through the lens of cinéma-monde. Transnational in scope while maintaining connections to the Francosphere, cinéma-monde bends the conventions of national cinemas to foreground ‘a flexible corpus of films that are linked to the francophone world by some combination of linguistic or cultural affinities, geographic contacts, production connections, or reception networks’. The article uses cinéma-monde to consider how films such as Les Frères Sisters continue to be produced, distributed, consumed and judged within the frameworks of national cinemas, but also to conclude that such frames are insufficient to fully understand these films and how they operate in the world.

摘要

2019 年，雅克·奥迪亚的第​​八部长片《兄弟姐妹》获得了九项凯撒奖提名，并登上了 UniFrance 和 Alliance Française 法国电影节的头条新闻。然而，Les Frères Sisters/The Sisters Brothers（2018 年）没有法语对话、演员、场景或拍摄地点。事实上，越来越多的近期电影被国家电影机构（从 CNC 到 UniFrance 和 Césars Academy）贴上法国电影的标签，尽管很少有明显的“法国”特征。本文分析了一系列以法文形式发行的跨国、跨文化和跨语言案例研究，重点是Les Frères Sisters, 通过世界电影的镜头。在保持与法国圈的联系的同时，电影世界在范围上是跨国的，它改变了国家电影院的惯例，将“通过语言或文化亲和力、地理联系、制作联系或接收网络'。文章使用世界电影来思考像Les Frères Sisters这样的电影是如何在民族电影的框架内继续制作、发行、消费和评判的，但也得出这样的结论：这些框架不足以完全理解这些电影及其运作方式在世界上。