Jean-Louis Trintignant

Jean-Louis Trintignant

Acting

December 11, 1930 — June 17, 2022
Piolenc, Vaucluse, France
161 movies

Biography

Jean-Louis Xavier Trintignant (December 11, 1930 – June 17, 2022) was a French actor. He made his theatrical debut in 1951, and went on to be regarded as one of the best French dramatic actors of the post-war era. He starred in many classic films of European cinema, and worked with many prominent auteur directors, including Roger Vadim, Costa-Gavras, Claude Lelouch, Claude Chabrol, Bernardo Bertolucci, Éric Rohmer, François Truffaut, Krzysztof Kieślowski, and Michael Haneke. He made a critical ...

🎬 Jean-Louis Trintignant's Filmography

161 movies sorted by popularity

Morceaux de Cannes
2.0

We thought we'd seen, read, and heard everything there was to see about the Cannes Film Festival, from the glitz and gossip to the scandals and censorship. And yet, Emmanuel Barnault's "Morceaux de Cannes" (Pieces of Cannes), by this leading expert on Italian and French cinema, convinces us otherwise. The third largest event in the world (after the Olympic Games and the FIFA World Cup) reveals its secrets only sparingly, as this film attests. The result of passionate research in the INA archives, these 52 minutes, without interviews or voice-over narration, string together rare and sometimes previously unseen footage. Taken together, they tell a surprising, original, and heartwarming story of the Festival. On the beach, on a street corner, in a restaurant, or in the privacy of a hotel room, these forgotten archives summon the greatest filmmakers, actors, and actresses of the last seventy years, from Jean Cocteau to David Lynch, for an anthology of the Festival's history.

Morceaux de Cannes

2021
Opium and the Stick
7.8

In 1950, in Algeria, in a village in Kabylia, Algerian resistance fighters resisted the French occupation army. Bachir returns to the village to escape the clashes ravaging Algiers. In Thala, he has two brothers, Ali and Belaïd. The first is engaged with the ALN (The National Liberation Army) and fights against the colonizer. His second brother, Belaïd, the eldest, is convinced of a French Algeria. His family torn apart, Bachir decides to join the war and takes sides against the repression of the French army. The French army is trying in vain to turn the population against the insurgents by using disinformation. The more time passes, the more the inhabitants of the village and surrounding areas, oppressed, rally to the cause of the FLN, their houses and their fields will be burned... Adaptation to the cinema of the eponymous novel Opium and the Stick, published in 1965, by Mouloud Mammeri, the film was dubbed into Tamazight (Berber), a first for Algerian cinema.

Opium and the Stick

1970
Michel
8.0

Michel has lived in a psychiatric hospital for many years. Blaise Othnin-Girard is fascinated by this figure outside any canon, including those to which a forced isolation would like to reduce him. Art, love, friendship in Michel's words seem different. "It seems to me that paradise ... is a love that pierces your belly and makes you really happy ... a feeling like an explosion of love in a faraway place. It's a place where you can enjoy, paradise." The director has not seen Michel since the therapeutic apartment in Mâcon in 2001, where he lived before some problems arose. He finds him now at the hospital in a Complex Psychiatry Unit: a closed and silent sector. His words reveal themselves between pain and resistance, humor and lucidity, hinting at a love affair between impeded bodies.

Michel

2013
Ramparts of Clay
7.1

In a village on the edge of the Sahara, Rima, a 19-year-old orphan, dreams of learning, of discovering, of living free while the men of the salt mine go on strike. The authorities react by sending the army, Rima decides to help the strikers by trapping the soldiers. Co-produced with the Office des Actualités Algériens and shot in the region of Téhouda, 50 kilometers from Biskra, this Franco-Algerian film is fully part of the cinematographic heritage of both shores of the Mediterranean. Bertuccelli adopts the technique of cinema verite, with non-professional actors from the village itself, giving the film a striking documentary texture and a rare force of authenticity. Carried by the moving interpretation of Leila Shenna in the role of Rima, the actor Krikèche and lulled by the music of Taos Amrouche, the film questions female emancipation, social resistance and the relationship with the territory.

Ramparts of Clay

1970
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