Sex symbol-turned-animal rights activist Brigitte Bardot is threatening to join actor Gerard Depardieu in Russian exile unless France halts the scheduled euthanasia of two sick circus elephants.

How plain Jane lives through her Hurt


The good, the bad, the ugly

CANNES DIARY Norman Wisdom turned up, and the Hollywood stars stayed at home. But strong entries and the right decisions made this a Cannes Festival to remember. Sheila Johnston, our woman on the Croisette, took notes

Romance with too much finance

THE HORSEMAN ON THE ROOF Jean-Paul Rappeneau (15); Gorgeous looks and lofty tone do not excuse an implausible confusion of Stendhal with Errol Flynn. By Adam Mars-Jones

Why the prime minister had to see La Haine

Alain Juppe set up a compulsory screening for his cabinet. The press pounced on it. Sheila Johnston talks to the director about why his film fuelled French political passion

BOOKS FICTION After Breathless by Jennifer Potter, Bloomsbury pounds 14.99.

BOOKS FICTION After Breathless by Jennifer Potter, Bloomsbury pounds 14.99.

La Femme Infidele (15) Claude Chabrol :FILM REVIEW

For a truer, if more delicate, frisson of horror, Londoners should seek out the re-release of La Femme Infidele (1968), now showing at the Barbican in London, one of Claude Chabrol's more accomplished, if slow- burning tales of adultery and murder. Some critics claim that it was with this film that Chabrol finally assimilated the lessons of his master, Hitchcock: the disposal-of-the-corpse sequence certainly piles on the comic agony in the best tradition.


PLEASE may we say adieu

OBITUARY : Madeleine Sologne

Madeleine Sologne's place among French film stars of the 1940s rests mainly on one film, L'Eternel retour (1943), but it is one of the key films of that troubled decade.

The good bad guys

FRENCH FILM NOIR by Robin Buss, Marion Boyars £19.95

Letter: Professional or not?

JACK HUGHES (Cries & Whispers, 7 November) comments that Emmanuelle Beart could never be a professional violinist because her fingernails are too long. Professional or not, it was she who actually played the violin in Un Coeur en Hiver, having learnt to do so especially for the film.

Don't mock: the French have a point

THERE IS a foul whiff of Francophobia in the London air. As the deadline for the Gatt deal draws near, alarm about the prospects for world trade is beginning to fuse with old-fashioned frog-bashing. John Major's 'blunt warning . . . get your tractors off our lawn' is but the most public example of the angry abuse heard throughout Whitehall and the Tory party: here they go again, bloody French, selfish, inward-looking protectionists.

Join us for an eternally enjoyable triangle


FILM / Entree des enfants terribles: They order things differently in France. Adrian Dannatt reports on the rapid turnover among young directors across the Channel

English cinephiles perusing the biographies of current French directors often assume there must have been a mass typographical error - all the given ages seem to have been reversed. The latest feature film was apparently made by someone aged 24 rather than 42. The excessive youth of the Gallic film profession makes Orson Welles's debut at 25 seem merely pedestrian rather than precocious. Few of these youthful movies are of the quality of Citizen Kane, of course, but then so little ever is.
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