<?xml version="1.0" encoding="utf-8" standalone="yes"?>
<rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/">
  <channel>
    <title>French Cinema on The CineBlog</title>
    <link>https://thecineblog.com/tags/french-cinema/</link>
    <description>Recent content in French Cinema on The CineBlog</description>
    <generator>Hugo</generator>
    <language>en-US</language>
    <lastBuildDate>Tue, 02 Jun 2026 13:00:10 -0500</lastBuildDate>
    <atom:link href="https://thecineblog.com/tags/french-cinema/index.xml" rel="self" type="application/rss+xml" />
    <item>
      <title>Titane: The Mechanics of the Burn</title>
      <link>https://thecineblog.com/stories/titane/</link>
      <pubDate>Fri, 01 Mar 2024 00:00:00 +0000</pubDate>
      <guid>https://thecineblog.com/stories/titane/</guid>
      <description>&lt;p&gt;There is a terrifying purity to physical danger. The modern American blockbuster removes all risk by relying on digital flames and green screen composites. They build sterile environments and call it cinema. Julia Ducournau, however, understands that fear cannot be synthesized. For her Palme d&amp;rsquo;Or winning &lt;em&gt;Titane&lt;/em&gt;, she demanded that the danger be absolute, visceral, and dangerously close to the lens.&lt;/p&gt;
&lt;h2 id=&#34;production-mechanics-the-weight-of-metal&#34;&gt;Production Mechanics: The Weight of Metal&lt;/h2&gt;
&lt;p&gt;To capture the film’s brutal, metallic visual language, cinematographer Ruben Impens deployed an Alexa Mini LF paired with Zeiss Supreme Primes. The large format sensor allowed them to shoot incredibly wide—frequently utilizing 25mm and 29mm glass—while still carving out a shallow, isolating depth of field.&lt;/p&gt;</description>
    </item>
  </channel>
</rss>
