French filmmaker Claude Lelouch (b. 1937) became a worldwide phenomenon in 1966 when his film “Un homme et une femme” (a.k.a. “A Man and a Woman”) hit the screens, and as a box office success, the film took home a long string of the most prestigious film awards, including the Palme d’Or at the Cannes Film Festival and an Academy Award for his screenplay. Mr. Lelouch was also nominated for an Oscar as ‘Best Director,’ only losing out to the always impeccable Fred Zinneman, who won for directing “A Man For All Seasons.”

“Un homme et une femme” became a screen classic, and Francis Lai’s score (theme song) is one of the best-known ever made, even for those who never saw or even never heard of the film. Since then, Mr. Lelouch—who never had any ties with the French New Wave or any other movement, unlike many of his contemporaries—has always been a very productive filmmaker and recently finished his latest feature, “Les plus belles années d’une vie” (a.k.a. “The Most Beautiful Years of a Life”). The film is the second sequel to “Un homme et une femme,” after he did “Un homme et une femme, 20 ans déjà” (a.k.a. “A Man and a Woman: Twenty Years Later”) in 1986. Leading actors Jean-Louis Trintignant (now 88) and Anouk Aimée (87) reprise their roles as the former race driver and script girl in this third and final chapter of the trilogy, which was presented at the latest Cannes Film Festival.

This is how “Les plus belles années d’une vie” was received after its screening at the Cannes Film Festival

Mr. Lelouch was the guest of honor at the Brussels International Film Festival‘s closing night only a few weeks ago to promote the release of “Les plus belles années d’une vie” where we did the following group interview. As one of France’s most prominent film directors and the driving force behind Les Atelies du Cinéma, he’s still very ambitious and always eager to explore new territories in the world of filmmaking: his upcoming project “La vertu des impondérables” has even been shot with a cell phone.

Mr. Lelouch, how did the story of “Les plus belles années d’une vie” come about?

After “Un homme et une femme,” I could never have imagined that this miracle could happen to me a second time. This film has changed my life, and the lives of everyone involved like Jean-Louis Trintignant or Francis Lai—and also the lives of the worldwide audience, which is estimated at approximately one billion people who have seen it in theaters and on television over the years. I always thought, ‘If the film is that successful, it probably has something substantial to say.’ So it seemed a good idea to come up with a final episode and come to a conclusion. I love life, and despite all its shortcomings which are much more photogénique, it interested me to make “Les plus belles années d’une vie” about a man and a woman who have lived their lives—they are able to talk about their lives and what they went through, and how well they understand a few of the things that happened to them over the years. They don’t understand everything, but the things they do understand are really important. I was very interested to see what the characters would be like today, how things are going now, or what they feel. I wanted to show that in the present, and even though they’re in their eighties, their lives can be very intense and passionate. There are no limits when it comes to loving someone; I wanted to show that love has no age—being in love is not a privilege for young people—and I thought this man and this woman are living the most precious moments of their lives. By being faithful to what happens in real life, I wanted it to be a very positive and upbeat film, and that’s what my life is all about right now. I’m in my eighties too, and those are the most beautiful years of my life. If I look back to my childhood… only now I’m having the time of my life. And I have no ego: if people don’t like my work, that’s fine with me while many years ago it used to hurt me. You must put everything into perspective and always look at the bright side of life; at least that’s what I do. I’m having more fun than I ever had before, I’ve been making a film with a cell phone, so there’s nothing that can stop me now. Ever since we are born, we all know life is an incredible journey that will end with a big mystery—people call it death, but to me, it’s all a big mystery. So while we’re still here, we need to make the most out of it. After all, who knows, maybe we’re all in for a big surprise.

You also wrote the screenplay of “Les plus belles années d’une vie.” Your actors are very spontaneous, so did they get the chance to read the script, or were they also allowed to improvise?

I set out to make a spontaneous film, not a film with my actors playing their characters. If they had done that, the film would look like a prefabricated product, and that’s what I wanted to avoid at all times.

And what about the dialogue you wrote?

It was all written on paper, but they didn’t get the chance to actually learn their lines. I told them what they were right before we started shooting, so they didn’t have the time to really learn them. They didn’t discover the importance of the words until they were saying them. That created a sort of spontaneity which is also one of the charms of the film. The scene when they first meet again, we shot that in forty minutes, including two rehearsals, and without interrupting the shoot. At their age, I think that a long shooting schedule would have cost a lot of energy, the actors would get tired and in the end, I wouldn’t get what I was looking for. So I preferred to work fast—we even shot the entire film in ten days. That’s what makes it so powerful, and I should know, because I’ve worked in films for over fifty years now, and I couldn’t have done this film when I was young. You really need the experience of a lifetime to make this film the way we did. But I was never sure; I mean I didn’t know if it would work out the way it did. We shot the opening scene on the first day, and we really worked day by day—Jean-Louis always said, ‘Who knows, maybe I will be dead by tomorrow morning.’

Was it easy to convince Jean-Louis Trintignant et Anouk Aimée to reprise their roles?

Yes, it was easy because we share the same history, we are like oldtimers in this business, and we know our craft. We weren’t allowed to be really scared about what we were doing, and all three of us had agreed that the film wouldn’t be released if we thought it wouldn’t be good enough. We wouldn’t settle for less—even if it looked like an impossible film to make. But that didn’t necessarily make it impossible to try it, especially since we were convinced to do it. But everybody else was worried: the financers were very reluctant, and the assurance company didn’t want to back us. The film was one big risk, and because of that, it was passionate and interesting to do.

Was it more difficult to do than the previous sequel “Un homme et une femme: 20 ans déjà”?

We made a mistake with that film. That film came much too soon; the characters didn’t come full circle with their lives. So whatever we did wrong back then, I think we were able to set the record straight with this one, particularly because it’s a film about time that has passed by. But those things happen. We all make mistakes. Life is an experience of joyful and dramatic events, highs and lows, and you have to live with that. I don’t ask myself that question too much—reporters do. I like to move on with my life and my career; I like to do things and make the films that are appealing to me, that’s what I would like to contribute. My films are like a chronique of the years that I’ve been fortunate to live. I always focused on stories of men and women who interested me more than others did. There are no real heroes nor villains in my films, but the characters could become heroes or villains one day. That paradox within human nature interests me because I like people; I like human beings with all their flaws—most importantly, our ego, which causes so much misery.

Are there any actors that you regret you never worked with?

J’ai ratté Jean Gabin. I would have loved to have worked with him; he’s an actor I always admired. There are others too, but there’s no particular reason why we didn’t get to work together: it simply didn’t happen, and it’s very often a matter of coincidence whether a project is greenlighted or not.

Your contribution to ‘Les Ateliers du Cinéma’ is very interesting. Is it important to pass on your experience as a filmmaker to the next generation?

Yes, and it’s something that both amuses me and interests me a lot. I don’t think you can learn how to make films; you have to do it. So I selected a number of people who are very passionate about cinema and I allow them to contribute in making a movie. They have no degree and no money, but they’re with me when I’m writing a script and when I’m shooting a film, they’re there every step along the way. Cinema is like love: you don’t learn it. No school tells you how to love someone like Marilyn Monroe, or Brigitte Bardot did. It’s the same with movies. Each one of us has to find his own way; you can’t invent a film director. So when they arrive on the set, they’re in control of the camera. It’s not like a film school; I only create an environment and give them the opportunity to make a film. This is a very rewarding experience; it’s like the most precious Oscar I could win.

Behind the scenes of Les Ateliers du Cinéma

Speaking of the Oscars, how important was it for you to win an Academy Award?

It was a delight to win an Oscar and the Palme d’Or. Like decorations such as the Légion d’Honneur [the highest French order for military or civil merits], it’s very reassuring for others to know they believe in your work. In truth, I never understood why it took them so long to notice it.

In a career as long as yours, you also had a few films that didn’t work too well. What did you learn from them?

They taught me everything, I would never have been successful, and I wouldn’t be where I am now if it weren’t for the failures I made. We all suffer from time to time, and this learning experience could be tough—physically and psychologically—but it was inevitable. It’s very difficult to explain that to a young generation. I did about fifty films up until now, and every film was a learning experience. You learn every day. Also, with “La vertu des impondérables” that I shot with a cell phone, you have no idea what I learned. Your whole life is a learning experience, while a film school will tell you how others did it. You don’t have to teach an art student how to paint like Van Gogh or Picasso—nobody can do it any better than they did—but there are other ways to express yourself through painting, and you can learn a lot about that in life. My father was a very intelligent man because he realized pretty early that I was a terrible student, so he gave me a camera instead, and then I really began to live. The moment he gave me my first camera, I knew I had found the love of my life, and then I wanted to film everything I saw and share my observations with others. That was my ambition, but I know it didn’t always work that way.

Music is essential in your films. How did you collaborate with Calogero for the score of “Les plus belles années d’une vie”?

He was introduced to me by Francis Lai; he really adored Calogero. He had approached me previously for a project that didn’t work out, but we got to know each other, and I appreciated his music. When Francis was working on the theme of the film, he wanted someone to orchestrate, so we brought in Calogero, and he agreed to do it. His contribution to the film is tremendous. Music always goes straight to the heart, so it’s terribly important to have a great musical score in a film. In “La vertu des impondérables” there is also a lot of music.

Do you have any idea how you will distribute that film?

I hope it will be theatrically released, just to prove what this tiny device is capable of. The film is in post-production now. I’ve shown some footage to people from the industry who thought it was done with a 35mm camera. For the distributers, it won’t make a difference what camera was used, but it was more challenging to convince crew members to participate.

Would you consider Netflix too? Is that an option?

I don’t think it’s a good idea to throw away la grande aventure du cinéma. You should see a film on a big screen. When you watch it on television, there’s so much screen magic that gets lost. So simply for the sake of the cinema experience, I will continue to make feature films. Don’t misunderstand me; television is great for series, and it’s a great alternative for people who really don’t care that much to experience a film on a big screen.

Brussels International Film Festival, Brussels
June 28, 2019

“Les plus belles années d’une vie” (2019, trailer)

FILMS

LE PROPRE DE L’HOMME (1961) DIR – SCR – CAMERA OPERATOR Claude Lelouch PROD Pierre Braunberger CAST Amidou, Janine Magnan

LA FEMME SPECTACLE, a.k.a. NIGHT WOMEN and PARIS IN THE RAW (1964) DIR Claude Lelouch PROD Claude Lelouch, Pierre Braunberger CAM Patrice Pouget ED Jacqueline Lecomte, Claude Barrois CAST Lucia Amram, Jean-Pierre Kalfon, Jean d’Estrée, Jean Yanne, Victoria Nankin, Richard Saint-Bris

L’AMOUR AVEC DES SI, a.k.a. IN THE AFFIRMATIVE (1964) DIR – SCR Claude Lelouch PROD M. Braunberger CAM Claude Lelouch [uncredited], Jean Collomb ED Claude Lelouch [uncredited] MUS Danyel Gérard CAST Guy Mairesse, Janine Magnan, Jean Franval, Richard Saint-Bris, France-Noëlle, Jacques Martin, Jean Daurand

UNE FILLE ET DES FUSILS, a.k.a. THE DECADENT INFLUENCE and TO BE A CROOK (1965) DIR Claude Lelouch PROD Claude Lelouch, Pierre Braunberger, Felix C. Ziffer SCR Claude Lelouch, Pierre Uytterhoeven CAM Jean Collomb ED Claude Lelouch, Claude Barrois MUS Pierre Vassiliu CAST Janine Magnan, Jean-Pierre Kalfon, Jacques Portet, Amidou, Pierre Barouh, Betty Beckers

LES GRANDS MOMENTS (1965) DIR – SCR Claude Lelouch PROD Pierre Braunberger CAM Jean Collomb CAST Amidou, Pierre Barouh, Jean-Pierre Kalfon, Janine Magnan, Jacques Portet

UN HOMME ET UNE FEMME, a.k.a. A MAN AND A WOMAN (1966) DIR – PROD – CAM Claude Lelouch PROD SCR Claude Lelouch, Pierre Uitterhoeven ED Claude Lelouch [uncredited], Claude Barrois MUS Francis Lai CAST Anouk Aimée, Jean-Louis Trintignant, Pierre Barouh, Valérie Lagrange, Antoine Sire, Souad Amidou, Henri Chemin

VIVRE POUR VIVRE, a.k.a. LIVE FOR LIFE (1967) DIR Claude Lelouch PROD Georges Dancigers, Alexandre Mnouchkine SCR Claude Lelouch, Pierre Uitterhoeven CAM Patrice Pouget ED Claude Lelouch, Claude Barrois MUS Francis Lai CAST Yves Montand, Candice Bergen, Annie Girardot, Irène Tunc, Anouk Ferjac, Uta Taeger, Jean Collomb, Amidou, Anouk Aimée, Pierre Barouh

MAMAIA (1967) DIR José Varela PROD Claude Lelouch [uncredited], Jacques Bar, J. L. Braley SCR José Varela, Serge Ganze CAM Patrice Pouget ED Brigitte Dornès MUS Henri Boutin CAST Adriana Bogdan, Chris Avram, Jean-Pierre Kalfon, Claude Ayramdjian, Christian Bertocchi

LA VIE, L’AMOUR, LA MORT, a.k.a. LIFE, LOVE, DEATH (1969) DIR Claude Lelouch PROD Georges Dancigers, Alexandre Mnouchkine SCR Claude Lelouch, Pierre Uytterhoeven CAM Jean Collomb ED Claude Barrois MUS Francis Lai CAST Amidou, Caroline Cellier, Janine Magnan, Marcel Bozzuffi, Pierre Zimmer, Catherine Samie, Lisette Bersy, Albert Naud, Robert Hossein, Annie Girardot

UN HOMME QUI ME PLAÎT, a.k.a. LOVE IS A FUNNY THING (1969) DIR Claude Lelouch PROD Georges Dancigers, Alexandre Mnouchkine SCR Pierre Uytterhoeven, Claude Pinoteau CAM Jean Collomb ED Jack Harris, Claude Barrois MUS Francis Lai CAST Jean-Paul Belmondo, Annie Girardot, Maria Pia Conte, Marcel Bozzuffi, Farrah Fawcett, Peter Bergman, Kaz Garas, Bill Quinn, Richard Basehart

LES GAULOISES BLUEUES (1969) DIR – SCR Michel Cournot PROD Claude Lelouch, Georges Dancigers, Alexandre Mnouchkine CAM Agnès Guillemot ED Edmond Freess, Guy Littaye MUS Krzysztof Penderecki CAST Annie Girardot, Jean-Pierre Kalfon, Nella Bielski, Bruno Cremer, Georges Demestre, Anne Wiazemsky, José Varela

LE VOYOUX, a.k.a. SIMON THE SWISS and THE CROOK (1970) DIR – CAM Claude Lelouch PROD Georges Dancigers, Alexandre Mnouchkine SCR Claude Lelouch, Pierre Uytterhoeven, Claude Pinoteau (story by Claude Lelouch) ED Marie-Christine Lacambre MUS Francis Lai CAST Jean-Louis Trintignant, Danièle Delorme, Charles Gérard, Christine Lelouch, Yves Robert, Judith Magre, Aldo Maccione, Amidou, Charles Denner, Sacha Distel

CAMRADES, a.k.a. COMRADES (1970) DIR Marin Karmitz PROD Claude Lelouch, Martin Karmitz, Danièle Delorme, Jacques Perrin, Yves Robert SCR Marin Karmitz, Jean-Paul Giquel, Lia Wajntal CAM Jean Gonnet, Pierre-William Glenn ED Pascale Laverrière MUS Jacky Moreau, Sylvain Gaudelette CAST Jean-Paul Giquel, Juliet Berto, Dominique Labourier, Jean-Pierre Melec, André Julien, Gilette Barbier, Christian Bouilette

LE CLAIR DE TERRE, a.k.a. EARTH LIGHT (1970) DIR – SCR Guy Gilles PROD Claude Lelouch CAM Guy Gilles, Philippe Rousselot ED Jean-Pierre Desfosse MUS Jean-Pierre Stora CAST Edwige Feuillère, Annie Girardot, Patrick Jouané, Elina Labourdette, Jacques Zanetti, Carole Lange, Roger Hanin

LE MAÎTRE DU TEMPS (1970) DIR Jean-Daniel Pollet PROD Luiz Carlos Barreto, Leon Zuratas ASSOC PROD Claude Lelouch SCR Jean-Daniel Pollet, Pierre Kast (story by Pierre Kast) CAM Jean Collomb, Alfonso Beato CAST Duda Cavalcanti, Renato Coutinho, Uracy D’Oliveira, Montgomery da Silva, Martinho da Vila, Ângelo de Aquino, Jean-Pierre Kalfon

SMIC SMAC SMOC (1971) DIR Claude Lelouch SCR Claude Lelouch, Pierre Uytterhoeven CAM Jean Collomb MUS Francis Lai CAST Catherine Allégret, Amidou, Jean Duguay, Charles Gérard, Jean Collomb, Arlette Gordon, Francis Lai, Pierre Uytterhoeven

L’AVENTURE, C’EST L’AVENTURE, a.k.a. MONEY MONEY MONEY (1972) DIR Claude Lelouch PROD Georges Dancigers, Alexandre Mnouchkine SCR Claude Lelouch, Pierre Uytterhoeven (story by Pierre Uytterhoeven) CAM Jean Collomb ED Janine Boublil MUS Francis Lai, José Padilla CAST Lino Ventura, Jacques Brel, Charles Denner, Johnny Hallyday, Charles Gérard, Aldo Maccione, Nicole Courcel, Yves Robert, Catherine Allégret, Jean Collomb, Alexandre Mnouchkine

VISIONS OF EIGHT (1973) DIR Claude Lelouch [segment THE LOSERS]; other segments directed by Milos Forman, Kon Ichikawa, Yuriy Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, Mai Zetterling PROD David L. Wolper, Stan Margulies, Isao Zeniya, Pierre Perdon SCR David Hughes, Deliara Ozerowa, Shuntarô Tanikawa CAM Daniel Bocly, Michael J. Davies, Rune Ericson, Alan Hume, Walter Lassally, Jörgen Persson, Igor Slabnevich, Ernst Wild, Arthur Wooster, Masuo Yamaguchi ED Dede Allen, Catherine Bernard, Jim Clark, Lars Hagström, Edward Roberts, Margot von Sclieffen MUS Henri Mancini CAST (includes) Ron Hill, Avery Brundage, Frank Shorter

LA BONNE ANNÉE, a.k.a. HAPPY NEW YEAR (1973) DIR Claude Lelouch SCR Claude Lelouch, Pierre Uytterhoeven (adaptation by Claude Lelouch, Pierre Uytterhoeven) CAM Claude Lelouch [uncredited] ED Georges Klotz MUS Francis Lai CAST Lino Ventura, Françoise Fabian, Charles Gérard, André Falcon, Mireille Mathieu, Lilo, Claude Mann, Frédéric de Pasquale

LE FAR-WEST (1973) DIR Jacques Brel SCR Jacques Brel, Paul Andréota CAM Alain Levent ED Jacqueline Thiédot MUS Jacques Brel, François Rauber CAST Jacques Brel, Daniele Evenou, Gabriel Jabbour, Véronique Mucret Rouveyrollis, France Arnel, Juliette Gréco, Michel Piccoli, Lino Ventura, Claude Lelouch (Psychiatrist)

TOUTE UNE VIE, a.k.a. AND NOW MY LOVE (1974) DIR Claude Lelouch SCR Claude Lelouch, Pierre Uytterhoeven CAM Jean Collomb ED Georges Klotz MUS Francis Lai CAST Marthe Keller, André Dussollier, Charles Denner, Carla Gravina, Charles Gérard, Gilbert Bécaud, Sam Letrone, Jacques Villeret

MARIAGE, a.k.a. MARRIAGE (1974) DIR Claude Lelouch SCR Claude Lelouch (dialogue by Claude Lelouch, Pierre Uytterhoeven) CAM Jean Collomb, Jacques Lefrançois ED Georges Klotz MUS Francis Lai CAST Bulle Ogier, Rufus, Marie Déa, Caroline Cellier, Bernard Le Coq, Charles Gérard, Harry Walter, Léon Zitrone

LE CHAT ET LA SOURIS, a.k.a. CAT AND MOUSE (1975) DIR – SCR Claude Lelouch CAM Jean Collomb ED Georges Klotz MUS Francis Lai CAST Michèle Morgan, Serge Reggiani, Philippe Léotard, Jean-Pierre Aumont, Valérie Lagrange, Michel Peyrelon

LE BON ET LES MÉCHANTS, a.k.a. THE GOOD GUYS AND THE BAD GUYS (1976) DIR Claude Lelouch SCR Claude Lelouch (dialogue by Claude Lelouch, Pierre Uytterhoeven) CAM Jacques Lefrançois ED Georges Klotz MUS Francis Lai CAST Marlène Jobert, Jacques Dutronc, Brigitte Fossey, Bruno Cremer, Serge Reggiani, Jacques Villeret, Jean-Pierre Kalfon, Valérie Lagrange, Philippe Léotard, Francis Lai

SI C’ÉTAIT À REFAIRE, a.k.a. SECOND CHANCE (1976) DIR – PROD – SCR Claude Lelouch CAM Jacques Lefrançois ED Georges Klotz MUS Francis Lai CAST Catherine Deneuve, Anouk Aimée, Charles Denner, Francis Huster, Colette Baudot, Jean-Jacques Briot, Jean-Pierre Kalfon, Valérie Lagrange, Jacques Villeret, Niels Arestrup, Françoise Hardy

UN AUTRE HOMME, UNE AUTRE CHANCE, a.k.a. ANOTHER MAN, ANOTHER CHANCE (1977) DIR – SCR Claude Lelouch PROD Georges Dancigers, Alexandre Mnouchkine CAM Stanley Cortez, Jacques Lefrançois ED Georges Klotz, Fabien D. Tjordjmann MUS Francis Lai CAST James Caan, Geneviève Bujold, Francis Huster, Susan Tyrrell, Jennifer Warren, Rossie Harris, Jacques Villeret, Diana Douglas, Richard Farnsworth, Robert Tessier, Christopher Lloyd

ROBERT ET ROBERT (1978) DIR – PROD – SCR Claude Lelouch CAM Jacques Lefrançois ED Hugues Darmois, Sophie Bhaud MUS Francis Lai CAST Charles Denner, Jacques Villeret, Jean-Claude Brialy, Francis Perrin, Germaine Montero, Régine, Macha Méril, Michèle Morgan

MOLIÈRE (1979) DIR – SCR Ariane Mnouchkine PROD Claude Lelouch CAM Bernard Zitzermann ED Françoise Javet, Georges Klotz MUS René Clemencic CAST Philippe Caubère, Marie-Françoise Audollent, Frédéric Ladonne, Odile Cointepas, Jonathan Sutton, Joséphine Derenne

CONFIDENCES POU CONFIDENCES, a.k.a. HEART TO HEART (1979) DIR Pascal Thomas PROD Albina du Boisrouvray SCR Pascal Thomas, Jacques Lourcelles CAM Renan Pollès ED Nathalie Lafaurie MUS Vladimir Cosma CAST Daniel Ceccaldi, Henri Crémieux, Jacques François, Michel Galabru, Laurence Lignières, Jacques Villeret, Anne Caudry, Jean Becker, Claude Lelouch (Film Director)

À NOUS DEUX, a.k.a. US TWO (1979) DIR – SCR Claude Lelouch PROD Claude Lelouch, Denis Héroux CAM Bernard Zitzermann ED Sophie Bhaud MUS Francis Lai CAST Catherine Deneuve, Jacques Dutronc, Jacques Villeret, Paul Préboist, Bernard Le Coq, Gilberte Géniat, Jacques Godin, Daniel Auteuil, Chiara Mastroianni

ALORS HEUREUX? (1980) DIR Claude Barrois PROD Jacques-Eric Strauss EXEC PROD Claude Lelouch SCR Pierre Jolivet, Marc Jolivet CAM Jean-Louis Povéda ED Nicole Saunier MUS Daniel Balavoine CAST Pierre Jolivet, Marc Jolivet, Pilar Balsega, France Dougnac, Ricahrd Bohringer, Rosine Cadoret, Léo Campion, Thierry Lhermitte

LES UNS ET LES AUTRES, a.k.a. BOLERO and BOLERO: DANCE OF LIFE (1981) DIR – PROD – SCR Claude Lelouch CAM Jean Boffety ED Hugues Darmois, Sophie Bhaud MUS Francis Lai, Michel Legrand CAST Robert Hossein, Nicole Garcia, Geraldine Chaplin, Jacques Villeret, Fanny Ardant, Evelyne Bouix, Jean-Claude Brialy, Jean-Pierre Kalfon, Francis Huster, Alexandra Stewart, James Caan, Sharon Stone, Simon Lelouch

ÉDITH ET MARCEL, a.k.a. ÉDITH AND MARCEL (1983) DIR – PROD Claude Lelouch SCR Claude Lelouch, Pierre Uytterhoeven, Gilles Durieux CAM Jean Boffety ED Hugues Darmois, Sandrine Péry MUS Francis Lai CAST Evelyne Bouix, Marcel Cerdan Jr., Jacques Villeret, Francis Huster, Jean-Claude Brialy, Charles Gérard, Charlotte de Turckheim, Francis Lai, Charles Aznavour

VIVA LA VIE, a.k.a. LONG LIVE LIFE (1984) DIR Claude Lelouch SCR Claude Lelouch, Jérôme Tonnerre (story by Claude Lelouch) CAM Bernard Lutic ED Hugues Darmois, Pauline Leroy MUS Didier Berbelivien CAST Michel Piccoli, Charlotte Rampling, Charles Aznavour, Jean-Louis Trintignant, Anouk Aimée, Evelyne Bouix, Laurent Mallet, Tanya Lopert, Raymond Pellegrin

PARTIR, REVENIR, a.k.a. GOING AND COMING BACK (1985) DIR Claude Lelouch SCR Jérôme Tonnerre CAM Bernard Lutic ED Hugues Darmois MUS Michel Legrand CAST Annie Girardot, Jean-Louis Trintignant, Evelyne Bouix, Michel Piccoli, Françoise Fabian, Richard Anconina, Charles Gérard, Marie-Sophie L., Michel Legrand

UN HOMME ET UNE FEMME, 20 ANS DÉJÀ, a.k.a. A MAN AND A WOMAN: 20 YEARS LATER (1986) DIR – PROD Claude Lelouch SCR Claude Lelouch, Pierre Uytterhoeven, Monique Lange, Jérôme Tonnerre CAM Jean-Yves Le Mener ED Hugues Darmois MUS Francis Lai CAST Anouk Aimée, Jean-Louis Trintignant, Richard Berry, Evelyne Bouix, Marie-Sophie L., Philippe Leroy, Charles Gérard, Robert Hossein, Nicole Garcia, Jean-Claude Brialy, Michèle Morgan, Gérard Oury

ATTENTION BANDITS! (1986) DIR – PROD Claude Lelouch SCR Claude Lelouch (adaptation by Claude Lelouch, Pierre Uytterhoeven) CAM Jean-Yves Le Mener ED Hugues Darmois MUS Francis Lai CAST Jean Yanne, Marie-Sophie L., Patrick Bruel, Charles Gérard, Corinne Marchand, Christine Lelouch

HAPPY NEW YEAR (1987) DIR John G. Avildson PROD Jerry Weintraub SCR Warren Lane (screenplay LA BONNE ANNÉE [1973] by Claude Lelouch, Pierre Uytterhoeven) CAM James Crabe ED Jane Kurson MUS Bill Conti CAST Peter Falk, Charles Durning, Tom Courtenay, Claude Lelouch (Man on Train), Gary Maas, Jack Hrkach, Earleen Carey

ITINÉRAIRE D’UN ENFANT GÂTÉ, a.k.a. ITINERARY OF A SPOILED CHILD (1988) DIR – SCR Claude Lelouch PROD Claude Lelouch, Jean-Paul Belmondo CAM Jean-Yves Le Mener ED Sophie Bhaud MUS Francis Lai CAST Jean-Paul Belmondo, Richard Anconina, Lio, Béatrice Agenin, Marie-Sophie L., Jean-Philippe Chatrier, Daniel Gélin

IL Y A DES JOURS… ET DES LUNES, a.k.a. THERE WERE DAYS… AND MOONS (1990) DIR – PROD Claude Lelouch SCR Claude Lelouch, Valérie Bonnier, Marc Rosenbaum CAM Jean-Yves Le Mener, Michel Quenneville ED Sophie Bhaud, Hélène de Luze MUS Francis Lai, Erik Berchot CAST Patrick Chesnais, Annie Girardot, Marie-Sophie L., Francis Huster, Vincent Lindon, Philippe Léotard, Gérard Darmon, Serge Reggiani, Amidou, Anouk Aimée

LA BELLE HISTOIRE, a.k.a. THE BEAUTIFUL STORY (1992) DIR – SCR Claude Lelouch EXEC PROD Jean-Paul De Vidas CAM Jean-Yves Le Mener ED Hélène de Luze MUS Francis Lai, Philippe Servain CAST Gérard Lanvin, Béatrice Dalle, Vincent Lindon, Marie-Sophie L., Patrick Chesnais, Élie Chouraqui, Amidou

TOUT ÇA… POUR ÇA!, a.k.a. ALL THAT… FOR THIS?! (1993) DIR – PROD – SCR Claude Lelouch CAM Claude Lelouch, Philippe Pavans de Ceccatty ED Hélène de Luze MUS Francis Lai, Philippe Servain CAST Marie-Sophie L., Francis Huster, Fabrice Luchini, Alessandra Martines, Vincent Lindon, Gérard Darmon, Jacques Gamblin, Evelyne Bouix

LES MISÉRABLES (1995) DIR – PROD Claude Lelouch SCR Claude Lelouch (novel by Victor Hugo)  CAM Claude Lelouch, Philippe Pavans de Ceccatty ED Hélène de Luze MUS Francis Lai, Michel Legrand, Philippe Servain, Erik Berchot, Didier Barbelivien CAST Jean-Paul Belmondo, Michel Boujenah, Alessandra Martines, Annie Girardot, Clémentine Céralié, Philippe Léotard, Rufus, Jean Marais, Micheline Presle, Robert Hossein

HOMMES, FEMMES, MODE D’EMPLOI, a.k.a. MEN, WOMEN: A USER’S MANUAL (1996) DIR – PROD Claude Lelouch SCR Claude Lelouch, René Bonnell CAM Philippe Pavans de Ceccatty ED Hélène de Luze MUS Francis Lai CAST Fabrice Luchini, Bernard Tapie, Alessandra Martines, Pierre Arditi, Ticky Holgado, Ophélie Winter, Salomé Lelouch, Caroline Cellier, Anouk Aimée

HASARDS OU COÏNCIDENCES, a.k.a. CHANCE OR COINCIDENCE (1998) DIR – SCR Claude Lelouch PROD Faruk Aksoy, Gabriela Chavira-Gélin, Suzanne Dussault, Marie-Christine Lezzi, André Picard, Mrs. Sule Soysal CAM Pierre-William Glenn ED Hélène de Luz MUS Francis Lai, Claude Bolling CAST Alessandra Martines, Pierre Arditi, Marc Hollogne, Laurent Hilaire, Véronique Moreau, Patrick Labbé

UNE POUR TOUTES (1999) DIR – PROD Claude Lelouch SCR Claude Lelouch, Pierre Uytterhoeven, Pierre Leroux CAM Philippe Vene, Eric Peckre ED Hélène de Luz, Stéphane Mazalaigue MUS Francis Lai CAST Jean-Pierre Marielle, Anne Parillaud, Alessandra Martines, Marianne Denicourt, Alice Avans, Olivia Bonamy, Anouk Aimée, Andréa Ferréol, Claude Lelouch

AND NOW… LADIES AND GENTLEMEN… (2002) DIR – PROD Claude Lelouch SCR Claude Lelouch, Pierre Uytterhoeven, Pierre Leroux CAM Pierre-William Glenn ED Hélène de Luz MUS Michel Legrand CAST Jeremy Irons, Patricia Kaas, Thierry Lhermitte, Alessandra Martines, Claudia Cardinale, Yvan Attal, Amidou

11’09”01 – SEPTEMBER 11, a.k.a. SEPTEMBER 11 (2002) DIR Claude Lelouch [segment FRANCE]; other segments directed by Youssef Chahine, Amos Gitai, Shôhei Imamura, Alejandro G. Iñárritu, Ken Loach, Samira Makhmalbaf, Mira Nair, Idrissa Ouedraogo, Sean Penn, Danis Tanovic PROD Nicolas Cand, Lydia Dean Pilcher, Alejandro G. Iñárritu, Nobuyuki Kajikawa, Cédolir Kolar, Rebecca O’Brien, Gustavo Santaolalla, Laurent Truchot SCR Claude Lelouch [segment FRANCE]; other segments written by Alain Brigand, Youssef Chahine, Sabrina Dhawan, Alejandro G. Iñárritu, Paul Laverty, Ken Loach, Samira Makhmalbaf, Idrissa Ouedraogo, Sean Penn, Marie-Jose Sanselme, Danis Tanovic, Daisuke Tengan, Pierre Uytterhoeven, Vladimir Vega CAST Mayrem Karimi, Mohamad Dolati, Dzana Pinjo, Aleksander Seksan, Vladimir vega, Ernest Borgnine

LE GENRE HUMAINE – 1ÈRE PARTIE: LES PARISIENS (2004) DIR Claude Lelouch PROD Claude Lelouch, Jean-Paul De Vidas SCR Claude Lelouch, Pierre Uytterhoeven CAM Gérard de Battista ED Stéphane Mazalaigue MUS Francis Lai CAST Mathilde Seigner, Maïwenn, Arielle Dombasle, Agnès Soral, Alessandra Martines, Michel Leeb, Massimo Ranieri, Salomé Lelouch, Shaya Lelouch, Roger Van Hool, Claude Lelouch

LE COURAGE D’AIMER (2005) DIR – SCR Claude Lelouch CAM Jean-Marie Lhomme ED Stéphane Mazalaigue MUS Francis Lai CAST Mathilde Seigner, Maïwann, Massimo Ranieri, Michel Leeb, Line Renaud, Yannick Soulier, Pierre Arditi, Sara Forestier, Sarah Lelouch, Alessandra Martines, Francis Lai, Agnès Soral, Claude Lelouch

ENTRE ADULTES, a.k.a. AMONG ADULTS (2006) DIR – SCR Stéphane Brizé PROD Claude Lelouch, Simon Lelouch CAM Hervé Portanguen ED Alban Teurlai MUS Fabrice Dumont, Frédéric Fortuny CAST Edith Mérieau, Vincent Dubois, Jeanne Ferron, Philippe Fauconnier, Celine Gorget, Vincent Rocher

NOS AMIS LES TERRIENS, a.k.a. OUR EARTHMEN FRIENDS (2006) DIR – SCR Bernard Werber PROD Claude Lelouch CAM Stéphane Krausz, Jérôme Peyrebrune ED Stéphane Mazalaigue MUS Alexandre Jaffray, Loïc Etienne CAST Annelise Hesme, Audrey Dana, Boris Ventura-Diaz, Thomas Le Douarec, Sellig, Shirley Bousquet

ROMAN DE GARE, a.k.a. CROSSED TRACKS (2007) DIR – PROD Claude Lelouch SCR Claude Lelouch (adaptation by Claude Lelouch, Pierre Uytterhoeven) CAM Gérard de Battista ED Stéphane Mazalaigue, Charlotte Lecoeur MUS Alexandra Jaffray CAST Dominique Pinon, Fanny Ardant, Audrey Dana, Michèle Bernier, Myriam Boyer, Zinedine Soualem, Boris Ventura-Diaz

CHACUN SON CINÉMA OU CE PETIT COUP AU COEUR QUAND LA LUMIÈRE S’ÉTEINT ET QUE LE FILM COMMENCE, a.k.a. TO EACH HIS OWN CINEMA (2007) DIR Claude Lelouch (only segment CINÉMA DU BOULEVARD); other segments directed by Theodoros Angelopoulos, Olivier Assayas, Bille August, Jane Campion, Youssef Chahine, Kaige Chen, Michael Cimino, Ethan Coen, Joel Coen, David Cronenberg, Jean-Pierre Dardenne, Luc Dardenne, Manoel de Oliviera, Raymond Depardon, Atom Egoyan, Amos Gitai, Hsiao-Hsien Hou, Alejandro G. Iñárritu, Aki Kaurismäki, Abbas Kiarostami, Takeshi Kitano, Andrey Konchalovskiy, Claude Lelouch, Ken Loach, David Lynch, Nanni Moretti, Roman Polanski, Raoul Ruiz, Walter Salles, Elia Suleiman, Ming-liang Tsai, Gus Van Sant, Lars von Trier, Wim Wenders, Kar-Wai Wong, Yimou Zhang PROD Denis Carot, Robert Benmussa, Sandrine Brauer, Laura Briand, Rachel Curl, Gilles Ciment, Sergei Davidoff, Gilles Jacob, Aki Kaurismäki, Takeshi Kitano, Serge Lalou, Marie Masmonteil, Masayuki Mori, Rebecca O’Brien, Jacky Yee Wah Pang, Roman Polanski, Katrine Sahlstrøm, Alain Sarde, Vincent Wang, Corinne Golden Weber, Kar-Wai Wong, Takio Yoshida SCR Jean-Pierre Dardenne, Luc Dardenne, Manoel de Oliviera, Atom Egoyan, Olivier Assayas, William Chang, Amos Gitai, Alejandro G. Iñárritu, Aki Kaurismäki, Andrey Konchalovskiy, Nanni Moretti, War-Wai Wong, Yimou Zhang, Jingzhi Zou CAM Marc-André Batigne, Jacques Bouquin, Inti Briones, Dirk Brüel, Nick de Pencier, Eric Alan Edwards, Greig Fraser, Francis Grumman, Pung-Leung Kwan, Steven Lubensky, Emmanuel Lubezki, Alain Marcoen, Ramses Marzouk, Francisco Olivera, Alessandro Pesci, Mauro Pinheiro Jr., Andreas Sinanos, Masha Solovyova, Shinzi Suzuki, Alberto Venzago, Xiaoding Zhao, Xiaoshi Zhao ED Luc Barnier, William Chang, Long Cheng, Alexandre de Franceschi, Marie-Hélène Dozo, Olga Grinshpun, François Gédigier, Takeshi Kitano, Bodil Kjærhauge, Véronique Lange, Giuseppe Leonetti, Valérie Loiseleux, Stephen Mirrione, Gabriel Reed, Susan Shipton, Yannis Tsitopoulos MUS Mark Bradshaw, Howard Shore, Mychael Danna, Eleni Karaindrou CAST Isabelle Adjani, Anouk Aimée, Josh Brolin, David Cronenberg, Émilie Dequenne, Jean-Claude Dreyfus, Sara Forestier, Michael Lonsdale, Jeanne Moreau, Brooke Smith, Lars von Trier

CES AMOURS-LÀ, a.k.a. WHAT LOVE MAY BRING and WHAT WAR MAY BRING (2010) DIR Claude Lelouch PROD Claude Lelouch, François Kraus, Denis Pineau-Valencienne SCR Claude Lelouch, Pierre Uytterhoeven (story by Claude Lelouch) CAM Gérard de Battista ED Stéphane Mazalaigue, Charlotte Lecoeur MUS Francis Lai, Laurent Couson CAST Audrey Dana, Dominique Pinon, Raphaël Haroche, Samuel Labarthe, Laurent Couson, Jacky Ido, Charles Denner, Anouk Aimée, Salomé Lelouch, Sabaya Lelouch, Boaz Lelouch, Sachka Lelouch, Valérie Perrin

HASTA MAÑANA (2013) DIR – SCR Sébastien Maggiani, Olivier Vidal PROD Olivier Vidal, Thierry Dechilly CAM Fabrice Richard ED Dominique Petrot MUS Sébastien Cortella, Benjamin Raffaelli CAST Amir Ben Abdelmoumen, Antoine Gautron, Mehdi Nebbou, Delphine Depardieu, Jean-Christophe Bouvet, Samuel Bousbib, Claude Lelouch [Himself]

SALAUD, ON T’AIME, a.k.a. WE LOVE YOU, YOU BASTARD (2014) DIR – PROD – CAM Claude Lelouch SCR Claude Lelouch, Valérie Perrin ED Stéphane Mazalaigue MUS Francis Lai, Christian Gaubert CAST Johnny Hallyday, Sandrine Bonnaire, Eddy Mitchell, Irène Jacob, Pauline Lefèvre, Sarah Kazemy, Jenna Thiam, Agnès Soral, Valérie Kaprisky, Laurent Couson

UN + UNE (2015) DIR Claude Lelouch PROD Claude Lelouch, Marc Dujardin, Samuel Hadida, Victor Hadida SCR Claude Lelouch, Valérie Perrin CAM Robert Azalraki ED Stéphane Mazalaigue MUS Francis Lai CAST Jean Dujardin, Elsa Zylberstein, Christopher Lambert, Alice Pol, Rahul Vohra, Shriya Pilgaonkar, Olias Lelouch, Laurent Couson

CHACUN SA VIE, a.k.a. EVERYONE’S LIFE (2017) DIR Claude Lelouch PROD Claude Lelouch, Samuel Hadida, Victor Hadida SCR Claude Lelouch (adaptation by Claude Lelouch, Pierre Uytterhoeven, Valérie Perrin, Grégoire Lacroix) CAM Robert Alazraki ED Stéphane Mazalaigue MUS Francis Lai, Laurent Couson, Dimitri Naiditch CAST Éric Dupond-Moretti, Johnny Hallyday, Nadia Farés, Jean Dujardin, Christophe Lambert, Antoine Duléry, Marianne Denicourt, Rufus, Stéphane De Groodt, Déborah François, Mathilde Seigner, Philippe Lellouche, Laurent Couson

LES PLUS BELLES ANNÉES D’UNE VIE, a.k.a. THE BEST YEARS OF A LIFE (2019) DIR Claude Lelouch PROD Claude Lelouch, Samuel Hadida, Victor Hadida SCR Claude Lelouch (adaptation by Claude Lelouch, Valérie Perrin; additional dialogue by Pierre Uytterhoeven) CAM Robert Alazraki ED Stéphane Mazalaigue MUS Francis Lai, Calogero CAST Anouk Aimée, Jean-Louis Trintignant, Souad Amidou, Antoine Sire, Marianne Denicourt, Monica Bellucci, Tess Lauvergne

LES VERTUES DES IMPONDÉRABLES (2020) DIR – SCR Claude Lelouch PROD Claude Lelouch, Victor Hadida ED Giuseppe Lipoi CAST Elsa Zylberstein, Marianne Denicourt, Ary Abittan, Stéphane De Groodt

THE SEACRETS (2020) DIR – SCR Philippe Azoulay PROD Claude Lelouch, Philippe Azoulay CAST Mylène Mackay, Carlos Enrique Almirante, Sarah Roa, Brenda Estrada, Johanna Menuteau