Occupation(s): Filmmaker, Actor, Film Critic, DJ.

Sign: Scorpio. Born November 8 ,1972 in France.

Favorite color: Unknown.


L'Impresario, 2010 (director)

La Famille Wolberg, 2009 (actor)

La Reine des Pommes, 2009 (actor)

La France, 2007 (director)

L'Homme qui Marche, 2007 (actor)

L'Eclaireur, 2006 (actor)

L'Etoile Violette, 2006 (actor)

Mystification ou l'Histoire des Portraits, 2005 (actor)

Les Jours ou je n'existe pas, 2003 (actor)

Mods, 2003 (director, actor)

Le Doux Amour des hommes, 2002 (actor)

Les Passagers, 1999 (actor)

La Révolution sexuella n'a pas eu lieu, 1999 (actor)

L'Ennui, 1998 (actor)

L'Amitié, 1998 (director, actor)

La Croisade, 1995 (actor)


Background: Out of the late 90s French film magazine La letter du cinéma grew a new group of French filmmakers. The wave reminded many of that infamous movement that took root in Paris in the 60s and involved a renowned film journal of its own time. 

“The Lettre du cinéma group is not another ‘New Wave’ but rather directly related to the original French New Wave,” critic Miriam Bale recently told Cinespect,  “These are critic-filmmakers, most obviously, but they also have a very similar relationship to classic films, to classic American films especially, as those original Young Turks.”

A number of the films made by Bozon and his cohorts, as well as some of the movies that influenced them, will be screened in the Film Society of Lincoln Center series, Free Radicals: Serge Bozon and the New French Cinema. Bozon will be in New York to talk about the films and will even be DJing a few parties over the course of the series.

“Serge’s group is bringing films back to a simplicity, primacy and strangeness, also a group dynamic (in production and theme) of classic film that was lost, a little, with French directors since the ‘70s and ‘80s,” Miriam Bale told Cinespect. “Since that time, French directors, working under the shadow of the original New Wave, tended to rebel like a child would from a parent, by emphasizing the subjective at the same time as de-emphasizing allusions to classic American films. And I think these films, the French films that are most often imported to the U.S. and loved by cinephiles here, can be a little pretentious sometimes.”