This was achieved through both meticulous planning and preparation and through different cinematic techniques. Within Amélie, Jeunet presents the audience with a highly constructed and idyllic Paris. Finally, and most radically, Kassovitz’s film reveals a side of Paris often ignored by cinema: the banlieue. I will argue that while Jeunet’s tries to construct his own Paris, or to conceal its contents, Truffaut chooses to present Paris in a broader sense, through the eyes of a child. In my essay I wish to analyze the different ways in which these films depict Paris. La haine goes one step further by showing the dirtier parts of Paris that are not normally depicted on film, specifically the “ banlieue”, the community “where the majority of the immigrant population lives” (Vincendeau, 2000, p. This is achieved through not only the images of iconic Parisian structures, but also by inviting us into the home and school of the protagonist. His film “offer a complex variation on… ‘the script of delinquency’” (Gillain, 2000, p. ![]() Truffaut offers a wider, although still predictable, lens of Paris through the eyes of Antoine, a young juvenile delinquent exploring the city. François Truffaut’s The 400 Blows (1959) and Mathieu Kassovitz’s La haine(1995) present two alternative versions of the city. However, this is not the only representation of Paris in cinema. Throughout the film we watch as the title character makes her way around “the Paris of youth, a fairy-tale Paris” (Zalewski, 2001, as cited in Andrew, 2004, p. An excellent example of this would be the idyllic and colourful Parisan setting of Jean-Pierre Jeunet’s 2001 romantic-comedy Amélie. 311), Paris has served as the perfect backdrop to the romantic encounter. With its “picturesque apartment blocks” and “bustling cafes” (Vincendeau, 2000, p. ![]() As stated by Ginette Vincendeau (2000) in her chapter “Designs on the Banlieue” from French Film: Texts and Contexts, “Paris, the modern city par excellence, has dominated French cinema” (p.
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