「法國影響，聚焦中國」：從紀錄片、愛情故事，到劇情片、動作片、喜劇和迎合青少年觀眾口味的影片，透過大螢幕來探索法國與中國持久的關係。

對法國而言，中國是迷人魅力和靈感的來源，而這種魔力早已經在電影中完整顯現。20世紀初的電影中，中國演員通常是演繹反派角色，近年來則是扮演繆思或家人的角色。中國同時也成為新故事情節的電影場景。

過去20 年來，兩國之間的電影交流越來越密切。在許多中國電影製作者的眼裡，法國一直是創意的先驅，例如活躍在法國的導演戴思杰及陽威國際的婁燁。

此外也有越來越多的法國導演選擇在中國拍攝，其中甚至有導演採用以普通話敘述的中國故事為題材，像是菲利普穆伊爾所執導的《夜鶯》。

在2010 年，法國與中國簽訂了電影合製條約，隸屬於本條約管轄範圍內的電影都會是雙語電影。目前已有3 部電影因此受惠，而首部影片就是王小帥執導的《我11》。

法國五月電影計劃旨在於慶祝兩種文化的長久交流，同時探索已默默耕耘多年的意見交流與合作夥伴關係。出於這種考量，讓我們來深入探究中國與法國的電影以及電影製作人如何互相擦出精彩火花。

“French shadows, all eyes on China”: from documentaries and love stories, to drama and action, and comedies and films for younger audiences, explore the long lasting relationships between France and China on the big screen!

China has always been a source of fascination and inspiration for the French, and this has translated into cinema. In early 20th century films, Chinese actors usually portrayed villains, and more recently took the role of muse or family member. China also became the décor for new stories.

In the last 2 decades, the cinematic relationship between the two countries has expanded. France has been a creative host for many Chinese filmmakers including Dai Sijie for The Chinese Botanist’s Daughters or Lou Ye for Love and Bruises and more and more French directors are shooting in China, some even using Chinese stories told in Mandarin, as is the case for The Nightingale by Philippe Muyl.

In 2010, France and China signed a co-production treaty allowing films within the frame of this agreement to be bi-national. So far few films have benefited from this; the first one being 11 Flowers by Wang Xiaoshuai.

The aim of Le French May cinema programme is to celebrate the enduring exchanges between our two cultures and explore the dialogue and partnerships that have been created along the way. With this in mind, let’s take a closer look at how French and Chinese films and filmmakers have influenced each other.