French cinema

French cinema has stopped being chic

From our UK edition

Amongst many men of my acquaintance, this season’s biggest blockbuster is not The Odyssey, but the new French epic De Gaulle. The first part, entitled Résistance, was released in British cinemas last month and has immediately become a cause célèbre with the kind of people who grumble that there hasn’t been a great war movie since the halcyon days of Where Eagles Dare and The Great Escape, and that the recent vogue for downbeat revisionism has meant that stirring and heroic tales of national fortitude have gone out of vogue. The second part of the story, Liberté, was released on 18 September. Presumably it, too, will find a ready-made audience, ready to thrill to the battle scenes and psychological duel between Simon Akbarian’s De Gaulle and Simon Russell Beale’s Churchill.

Foreign governments have themselves to blame for Trump’s movie tariffs

Donald Trump has thrown another trade grenade. His latest idea – a 100 percent tariff on all foreign-made films – is crude, impractical and potentially disastrous for his frenemies in the Hollywood industry that he has suddenly decided to champion. Announcing the tariffs via Truth Social, Trump tried to paint movies produced overseas as a danger: not just to America’s film production industry, but national security too. “WE WANT MOVIES MADE IN AMERICA, AGAIN!" he thundered. Invoking national security to justify these tariffs is legally shaky. Practically, it’s not clear how you even impose tariffs on a complex, multi-national production like a modern movie. Films shot in Croatia, edited in the UK and funded by America pose an administrative nightmare.

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