MOTHER loves a good French film — whether it’s a French New Wave classic by Jean-Luc Godard or a sultry storyline starring the irresistible Brigitte Bardot.

The late 50s and 60s were a golden era for French cinema: Traditional filming conventions were rejected and reimagined, leading to fast-paced editing, long, exploratory takes, and ambiguous endings, while storylines grappled with sensuality, desire, class struggles and youth culture. Underscored by truly effortless style, it’s no wonder why MOTHER continually turns to this iconic cinematic movement for inspiration.

From psychological thrillers to deadly love triangles set in Saint Tropez, French cinema covers all the bases — and MOTHER’s top-five picks have a little something for everyone. Whether you’re in the mood to watch a tranquil summer holiday turn into a crime scene or a housewife’s journey to self-discovery, consider one of MOTHER’s favorite French films below and turn those subtitles on. Oui, oui!

BELLE DU JOUR

Séverine Serizy loves her husband Pierre but is unable to open up to him physically. Instead of attempting to resolve these feelings, she dreams of bondage, masochism and domination — unfulfilled fantasies that eventually lead her into the world of prostitution. In the afternoons, Séverine sneaks off to a brothel where she finds the sexual satisfaction she’s been waiting for, and her physical desire for her husband slowly returns. But as one of her customers grows overly possessive, the story takes a turn. One is left dead, one is paralyzed, and one is left with the weight of it all on her shoulders.

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LES BICHES

Frédérique and Why, two beautiful French women, find themselves entangled in a love triangle with Paul, a talented architect. At Frédérique’s villa in Saint-Tropez, Why meets Paul at a party and secretly slips off with him, unaware that Frédérique has them followed. Fueled by jealousy, Frédérique sets out to seduce Paul in an attempt to get back at Why, and leaves a wake of drama in her path. A twisted ending — a heated confession, a poisoned dagger and dark intentions — shows how the struggle for control in love can so easily turn deadly.

LA PISCINE

Set in a villa near Saint-Tropez, Jean-Paul and his girlfriend Marianne are spending a summer holiday swimming, lounging, and relaxing in the sun. An ex-lover of Marianne’s, Harry, arrives for a visit with his daughter, Penelope. As Harry attempts to steal the attention of Marianne, Penelope and Jean-Paul bond over their disdain for him. One night while Marianne and Penelope are asleep, Harry drunkenly accuses Jean-Paul of seducing Penelope — a claim that leads to a fist fight, murder and a shoddy cover up. Three guests are left at the villa to unravel the lies, jealousy and possessiveness that led to this unusual turn of events.

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AND GOD CREATED WOMEN

Starring Brigitte Bardot as the insatiable Juliete Hardy, And God Created Woman tells the story of an 18-year old orphan overcome by her sexual desires. As she romps around Saint-Tropez — seductively dancing in bars, tanning nude in her lawn, and running around barefoot — Juliete attracts the attention of every man in her path, leading her into a twisted love triangle fueled by money and lust. Eric Carradine, Juliete’s first suitor, introduces her to the Tardieu family, and she quickly falls for the oldest of the three brothers, Antoine. For once, she can’t seem to seduce him, and despite her pleas for marriage, he shows no interest. Antoine’s younger brother Michel sees an opportunity and proposes to Juliete. In a moment of despair, she accepts, but her underlying love for Antoine begins to manifest in cruel, unusual ways. A tale of temptation, sensuality and betrayal, And God Created Woman reveals the unspoken power of the feminine.

CONTEMPT

One of Jean-Luc Godard’s celebrated films from the French New Wave movement, Contempt is based on the Italian novel, Il Disprezzo. Paul Javal is a young playwright who’s been tasked to rework the script for a film adaptation of the Odyssey. Paul and his wife Camille (played by Brigitte Bardot) meet with the film’s producer, Jeremy Prokosch, and director, Fritz Lang, at a large film studio in Rome. After a discussion about the film, Jeremy invites the group back to his villa, and asks Camille to ride with him in his two-seater sports car. Paul seems to have no hesitation with this request, and Camille regretfully accepts his offer. Jeremy continues to involve Camille in the production, and she begins to see herself as a bartering piece on her husband’s behalf. Love turns to contempt as the story unfolds, leaving far more than a marriage dead in the past.

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