Editing Cinema of France (section)

==== 2000s ====
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| footer    = [[Marion Cotillard]] (left) and [[Jean Dujardin]] (right), both awarded with an [[Academy Awards|Academy Award]] in [[United States]], for their respective roles in ''[[La Vie en rose (film)|La Vie en Rose]]'' (2007) and ''[[The Artist (film)|The Artist]]'' (2011).
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| image1    = Marion Cotillard Cabourg 2017.jpg
| alt1      = Marion Cotillard
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| image2    = Jean Dujardin Cannes 2011.jpg
| alt2      = Jean Dujardin
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In 2000, Philippe Binant realized the first [[digital cinema]] projection in [[Europe]], with the DLP CINEMA technology developed by [[Texas Instruments]], in Paris.<ref name="auto"/><ref name="auto1"/><ref name="google.com"/>

In 2001, after a brief stint in Hollywood, [[Jean-Pierre Jeunet]] returned to France with ''[[Amélie]]'' (''Le Fabuleux Destin d'Amélie Poulain'') starring [[Audrey Tautou]]. It became the highest-grossing French-language film ever released in the United States. The following year, ''[[Brotherhood of the Wolf]]''  became the sixth-highest-grossing French-language film of all time in the United States and went on to gross more than $70 million worldwide.

In 2008, [[Marion Cotillard]] won the [[Academy Award for Best Actress]] and the [[BAFTA Award for Best Actress in a Leading Role]] for her portrayal of legendary French singer [[Édith Piaf]] in ''[[La Vie en Rose (film)|La Vie en Rose]]'', the first French-language performance to be so honored. The film won two Oscars and four [[BAFTA]]s and became the third-highest-grossing French-language film in the United States since 1980. Cotillard was the first female and second person to win both an Academy Award and [[César Award]] for the same performance.

At the 2008 [[Cannes Film Festival]], ''[[Entre les murs]]'' (''The Class'') won the [[Palme d'Or]], the 6th French victory at the festival. The 2000s also saw an increase in the number of individual competitive awards won by French artists at the Cannes Festival, for [[Best Director Award (Cannes Film Festival)|direction]] ([[Tony Gatlif]], ''[[Exils]]'', 2004), [[Best Screenplay Award (Cannes Film Festival)|screenplay]] ([[Agnès Jaoui]] and [[Jean-Pierre Bacri]], ''[[Look at Me (2004 film)|Look at Me]]'', 2004), [[Best Actress Award (Cannes Film Festival)|female acting]] ([[Isabelle Huppert]], ''[[The Piano Teacher (film)|The Piano Teacher]]'', 2001; [[Charlotte Gainsbourg]], ''[[Antichrist (film)|Antichrist]]'', 2009) and male acting ([[Jamel Debbouze]], [[Samy Naceri]], [[Roschdy Zem]], [[Sami Bouajila]] and [[Bernard Blancan]], ''[[Days of Glory (2006 film)|Days of Glory]]'', 2006).

The 2008 rural comedy ''[[Bienvenue chez les Ch'tis]]'' drew an audience of more than 20 million, the first French film to do so. Its $193 million gross in France puts it just behind ''[[Titanic (1997 film)|Titanic]]'' as the most successful film of all time in French theaters.

In the 2000s, several French directors made international productions, often in the action genre. These include [[Gérard Pirès]] (''[[Steal (film)|Riders]]'', 2002), [[Pitof]] (''[[Catwoman (film)|Catwoman]]'', 2004), [[Jean-François Richet]] (''[[Assault on Precinct 13 (2005 film)|Assault on Precinct 13]]'', 2005), [[Florent Emilio Siri]] (''[[Hostage (2005 film)|Hostage]]'', 2005), [[Christophe Gans]] (''[[Silent Hill (film)|Silent Hill]]'', 2006), [[Mathieu Kassovitz]] (''[[Babylon A.D.]]'', 2008), [[Louis Leterrier]] (''[[The Transporter]]'', 2002; ''[[Transporter 2]]'', 2005; [[Olivier Megaton]] directed ''[[Transporter 3]]'', 2008), [[Alexandre Aja]] (''[[Mirrors (2008 film)|Mirrors]]'', 2008), and [[Pierre Morel]] (''[[Taken (film)|Taken]]'', 2009).

Surveying the entire range of French filmmaking today, Tim Palmer calls contemporary cinema in France a kind of eco-system, in which commercial cinema co-exists with artistic radicalism, first-time directors (who make up about 40% of all France's directors each year) mingle with veterans, and there even occasionally emerges a fascinating pop-art hybridity, in which the features of intellectual and mass cinemas are interrelated (as in filmmakers like Valeria Bruni-Tedeschi, Olivier Assayas, Maïwenn, Sophie Fillières, Serge Bozon, and others).<ref>Palmer, Tim (2011). ''Brutal Intimacy: Analyzing Contemporary French Cinema'', Wesleyan University Press, Middleton CT. {{ISBN|0-8195-6827-9}}.</ref>