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○■ The abolition of the Film Council has provoked another round of laments for UK cinema. But across the Channel there is a golden age for serious movies - and a cohesive industry with lessons for Britain's Hollywood-obsessed producersWhen I walked out of the cinema the other evening after watching a very great actress at the top of her form - Kristin Scott Thomas in Leaving (Partir) - I realised that subtitles were now the norm for me. Of the 10 films I have paid to see over the last year, eight were French.I'm aware of big releases like Inception and the accompanying ballyhoo over Tom Cruise's latest empty sensation and but it's a while since I have bought a ticket to see an American film. I'm hooked ON the French and in awe of their style and the effortless class of their filmmaking. Cinema is one of the ways a nation entertains itself, but also contemplates its problems and peculiarities and changes. French cinema does this very well and is experiencing a golden period. In the past year or so there have been the two-part gangster drama Mesrine and The Father of My Children (Le. ère de mes Enfants), Un Prophète, Leaving, Gainsbourg and I've Loved You So Long (Il y a longtemps que je t'aime) and White Material. Few of the Hollywood movies I have seen in the past 10 years were a patch ON something like The Father of My Children. When it comes to Leaving and the remarkable prison drama Un Prophète and we are talking of masterpieces. In Leaving and Scott Thomas's performance as a middle-aged housewife who has an affair with a labourer just out of jail is as wrenching and well observed as anything in Madame Bovary or Anna Karenina. I cannot remember the last time I was so deeply affected in the cinema. These are the films that make it over the Channel and into the cinemas not owned by the big Ameri The English movie which awakens another round you sigh the abolition of movie promotion commission,
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