Comme une Française: How to Scare a French Person

There are some big cultural differences when conversing with French people. Learn the most important ones in this free French lesson.

Take care and stay safe. 😘 from Grenoble, France.


Comme une Française: Sortir vs Partir: How to say you’re leaving in French

Sortir and Partir are two irregular French verbs with very similar meanings — but we don’t always use them in the same way! Both verbs can be loosely translated to “I’m leaving” in French. But what does each verb really mean, and how can we use them more fluently in French conversation? Let’s learn.

Take care and stay safe. 😘 from Grenoble, France. Géraldine

Women who speak out celebrated at France’s “Victoires de la musique” awards

Pomme, a singer with sensitive lyrics, who this week spoke out against sexual abuse in the industry was crowned Best Female artist of the year at the 36th annual French music awards. In the new talent category, Yseult, dazzled the scene with her message tackling the taboo of body shape and acceptance of one’s origins.

Due to the Covid-19 health crisis, the 36th Victoires de la musique took place on Friday evening in a strange atmosphere without any audience, at the Seine Musicale concert hall in Boulogne-Billancourt, on the outskirts of Paris.

However, nearly 200 extras were present in the hall to applaud the artists’ performance.

Pomme, the voice of the #MeToo movement in music, won Best Female Artist, her second Victoire, after her album Les Failles won a prize last year.


This trophy is a big spotlight on the #MeToo movement, still in its infancy in the music industry and named #Musictoo.

Pomme described her “arrival in the music industry” as “traumatic” in an open letter published Thursday by the online medium Mediapart. “From the age of 15 to 17, I was manipulated, morally and sexually harassed, without being aware of it at the time of course,” the 24-year-old artist said.

When she received her award on Friday, she wished for a “safer (music) industry for women”, hoping that they could “overturn the codes” of the business.

Also speaking out for women, and in particular women of colour, was Yseult, who won Best New Female Talent award.

“There is still a long way to go for women, for black women, for fat women,” commented Yseult.

The singer has always explained that she uses the colour of her skin and her body shape as a political weapon through her songs and videos.

Benjamin Biolay was awarded Best Male Artist and Best album for Grand Prix. At the age of 48, he has now won six awards. He didn’t shy away from pointing out how hard the year has been for the culture industry in France due to the pandemic.

“It hasn’t been a very winning year for music,” said Biolay as he received his first trophy of the evening, the trophy for male artist.

He has openly criticized what he describes as the “deafening silence of the public authorities” towards the music industry in general, and of the stage in particular, weakened by the Covid-19 health crisis.

Benjamin Biolay receives the 5th Victory of his career from the hands of Jean Louis Aubert.
Benjamin Biolay receives the 5th Victory of his career from the hands of Jean Louis Aubert. © RFI / Edmond Sadaka

Jane Birkin gets career award

Mais je t’aime, by Grand Corps Malade and Camille Lellouche, was named best song.

The Victory of Best new Male Talent came to Hervé. The best video clip was won by Julien Doré, for Nous, with his two mischievous dinosaurs.

The ceremony, regularly accused of snubbing the big sellers of the moment – from urban music – also highlighted the most streamed title (more than 101 million times) between December 2019 and November 2020, Ne reviens pas, by Gradur and Heuss L’Enfoiré.

Among the other prizes awarded was the Victory of Honour awarded to Jane Birkin for her entire career.

Source: Women who speak out celebrated at France’s “Victoires de la musique” awards

Interview with Isabelle Adjani (1977)

At 22, the young actress is an international star thanks to her role in “Adèle H” by François Truffaut and has just shot her first film in the United States, “The Driver”.

En Fançais

A 22 ans, la jeune actrice est une star internationale grâce à son rôle dans “Adèle H” de François Truffaut et vient de tourner son premier film aux Etats-Unis, “The Driver”. Avec maturité, éloquence, et naturel, Isabelle Adjani se confie à Christian Defaye sur ses débuts dans “Le petit bougnat”, son passage à la Comédie-Française, les rôles qui l’ont marquée, son travail de comédienne. Cet entretien événement fut exceptionnellement diffusé à 20h20, avant le film de la soirée, le 13 décembre 1977 dans Spécial Cinéma.

Gabriel Yared in the spotlight at Radio France: 40 years of film music

Gabriel Yared’s music featured on Radio France: the opportunity to rediscover 40 years of creation for the big screen, from the English Patient to Auntie Danielle, including L’Amant and Le Talentueux Mr Ripley.

Few of the French film music composers have been awarded an Oscar. Gabriel Yared is part of this very small circle, which also includes Maurice Jarre, Michel Legrand , George Delerue, Ludovic Bource and Alexandre Desplat . The audience-less concert offered by Radio France, with Gabriel Yared at the piano and the Radio France Philharmonic Orchestra under the direction of Dirk Brossé, offers listeners a glimpse of the French composer ‘s broad musical palette.

The contemplative and romantic scores, tinged with a deep melancholy, hold the high part of the program. The music of Camille Claudel (film directed by Bruno Nuytten in 1988) strongly influenced the own admission of Gabriel Yared by the Tenth Symphony of Mahler and Transfigured Night by Schoenberg , leads the listener into a heightened lyricism, which tormented the treble violins interact with the dark bass of cellos. In the soundtrack of The English Patient (Anthony Minghella, 1996), it is the comforting brass that comes to support the passionate strings, all guided by a melancholy bassoon.

The performed excerpts also reveal the influence of jazz in the work of Gabriel Yared. This is particularly true of the score of 37 ° 2 in the morning  (Jean-Jacques Beineix, 1986), where Lewis Morison’s saxophone, with its intense and sensual sound, plunges into a jazzy atmosphere, which would perfectly suit the images of a sunrise over Manhattan. The sounds are also felt, although in a more discreet way, in the soundtrack of L’Amant , a delicate page relating the birth of the amorous passion, from which emerge, in the middle of a delicate harp and cottony layers of violins , some jazzy piano notes.

A great lover of classical music, Gabriel Yared does not hesitate to pay tribute to his masters in his works. This is the case in The English Patient , for which he composed an elegant prelude in the style of Bach , or even in the score of the ballet Raven Girl , choreographed in 2013 by Wayne McGregor , a light refrain in which the influence is felt. by Mozart , played here with malice by the pianist Suzana Bartal, offering a nice moment of complicity with the orchestra.

A composer without borders, Gabriel Yared ventures into Argentinian music with La Lune dans le gutter (Jean-Jacques Beineix, 1983). Here he performs a tango for large orchestra, where Juanjo Mosalini’s mysterious and lascivious bandoneon dialogues with a solo violin, performed with passion by Nathan Mierdl, with almost Gypsy accents.

The concert is also an opportunity to discover new pages. Like this excerpt from the soundtrack of Troy (Wolfgang Petersen, 2004), a big budget Hollywood peplum, for which the composer’s music was ultimately not chosen. A surprising decision when listening to this excerpt, supposed to accompany the bag of the city of Troy, martial page in which the brass warriors sound the attack, supported by thunderous percussions. A page at the antipodes of another unpublished piece, Adagio for an unreleased film , a serious and majestic passacaglia inspired by Bach .

For her two interventions, the young soprano Héloïse Poulet, spotted a few years ago by the composer, delivers a successful performance, without suffering from the comparison with the two singular voices that preceded her on the screen. In “Lullaby for Cain”, lugubrious and melancholy lullaby initially sung by Sinéad O’Connor for the film The Talented Mr. Ripley(Anthony Minghella, 1999), the crystalline and delicate voice of the soprano subtly alternates moments of great sweetness and fury. It begins with an almost imperceptible thread of voice, on the edge, picking up the high notes with a touching fragility. But very quickly the instruments were carried away, and the voice was overwhelmed by the orchestra, only succeeding in extricating itself from it fully during the apotheosis of the piece, the pronunciation of Cain’s name, in a heart-rending cry.

Héloïse Poulet makes the stylistic splits for her second stint on stage, where she performs “La Complainte de la vieux salope”, a humorous song interpreted by Catherine Ringer in Tatie Danielle (Étienne Chatiliez, 1990), a large demonstrative number which is more similar from the world of opera. The soprano delivers a performance that is certainly less bombastic than the singer of Rita Mitsouko, who played the diva to their heart’s content on this piece, but this allows the interpretation to gain in elegance and vocal power. Héloïse Poulet shows great dramatic expressiveness and a beautiful length of breath, proudly showing off her piercing highs and her laughing vibrato, offering splendid vocalizations.

So many musical pages that allow us to grasp the universe of Gabriel Yared, carried here by the Philharmonic Orchestra of Radio France , under the precise and passionate direction of Dirk Brossé, whose musicians prove once again that they are capable of anything play, recalling the many bridges between classical music and film music

Source: Gabriel Yared in the spotlight at Radio France: 40 years of film music – news – Ôlyrix

Comme une française: How to pronounce the “euil” sound

How do you pronounce fauteuil in French? How about écureuil, or accueil? Each of these words use the weird French sound “euil”

It’s no secret that many French words have weird pronunciation. And one sound that always makes French learners pause is the “euil” sound. You’ll see it in words like un fauteuil (an armchair), un écureuil (a squirrel), and un accueil (welcome / hospitality / an entrance lobby). In today’s lesson, I’ll show you some tricks for getting around this weird French pronunciation, so you can get better at speaking real, everyday French! Let’s go!

Take care and stay safe. 😘 from Grenoble, France. Géraldine