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Encyclopedia of French Film Directors

Encyclopedia of French Film Directors

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<strong>Film</strong>ography<br />

1985 Coup de Chaleur (short)<br />

1996 La Mémoire est-elle soluble dans l’Eau? (documentary;<br />

also screenwriter)<br />

1999 Les Illuminations de Mme Nerval (documentary;<br />

also co-screenwriter)<br />

2003 Royal Bonbon (also screenwriter; France /<br />

Canada)<br />

2004 Haïti: La Fin des Chimères (documentary; France<br />

/ Haiti)<br />

NAKACHE, OLIVIER (April 15, 1973, Suresnes,<br />

Hauts-de-Seine, France–) and TOLEDANO, ERIC<br />

(July 3, 1971, Paris, France–)<br />

They met at a vacation camp in the late 1980s. Eric<br />

Toledano graduated with a bachelor’s degree in<br />

cinema and a master’s degree in political science at<br />

the Sorbonne. They co-wrote a short, La Dette (Pascal<br />

Chaumeil, 2002), and appeared as actors in a TV<br />

movie (2005 Mer belle à agitée, Pascal Chaumeil).<br />

<strong>Film</strong>ography<br />

1997 Le Jour et la Nuit (short; also screenwriter,<br />

dialogist)<br />

1999 Les Petits Souliers (short; also screenwriter,<br />

dialogist)<br />

2002 Ces Jours heureux (short; also screenwriter,<br />

dialogist)<br />

2005 Je préfère qu’on reste Amis (also co-screenwriter)<br />

2006 Nos Jours heureux (also co-screenwriter)<br />

NALPAS, MARIO<br />

A versatile personality <strong>of</strong> <strong>French</strong> silent fi lms, he was<br />

an editor (1921 Mathias Sandorf, Henri Fescourt; 1934<br />

Rapt / USA: The Kidnapping, Dimitri Kirsan<strong>of</strong>f), assistant<br />

director (1927 Napoléon / Napoléon Bonaparte<br />

/ Napléon vu par Abel Gance / USA: Napoleon / Abel<br />

Gance’s Napoleon, Abel Gance; 1932 Coups de Roulis,<br />

Jean de La Cour), cinematographer (1930 Donna di<br />

una notte, Marcel L’Herbier, Italy), art director (1930 La<br />

Bodega, Benito Perojo, Spain / France), producer (1930<br />

La Femme d’une Nuit, Marcel L’Herbier), and director.<br />

<strong>Film</strong>ography<br />

1924 Il ne faut pas jouer avec le Feu<br />

1926 La Fin de Monte-Carlo (co-director with Henri<br />

Etiévant)<br />

1927 La Sirène des Tropiques (co-director with Henri<br />

Etiévant)<br />

1928 La Symphonie pathétique (co-director with<br />

Henri Etiévant)<br />

Montecarlo<br />

NAMIAND, GILBERT<br />

NATANSON, JACQUES • 765<br />

A documentary director, he specialized in musical<br />

fi lms on <strong>French</strong> rockers.<br />

<strong>Film</strong>ography<br />

1979 Hexagonal’s Rockers / New Wave <strong>French</strong> Connection<br />

(documentary)<br />

1992 Johnny Hallyday, une Star dans l’Histoire (documentary;<br />

co-director with Bernard Schmitt)<br />

Television <strong>Film</strong>ography<br />

1995 Aphrodisia / Secrets de Femmes (episode “Les<br />

Mots et la Chose”)<br />

Videos<br />

1998 Jean-Jacques Goldman—Tournée 98 en passant<br />

2000 Zazie: Made in Live<br />

Jean-Marie Bigard met le Paquet<br />

2001 Bigard bourre Bercy<br />

NATAF, OREN (June 30, 1972, Tel Aviv, Israel–)<br />

Having graduated from the Ecole Nationale des Beaux-<br />

Arts (painting department), he worked in 1996 as a<br />

cinematographer on many 16-mm fi lms shot for the<br />

San Francisco Art Institute. An occasional editor (2001<br />

Le Clou, short, Alexandre Messina; Carte postale, short,<br />

Patrick Chamare) and assistant director (2003 Le Festin<br />

de la Mante, Marc Levie, Belgium), he directed several<br />

documentaries (shorts and feature-length fi lms).<br />

<strong>Film</strong>ography<br />

1997 Les Coulisses de l’Âme (short)<br />

1998 Le Royaume des Chats (short)<br />

2002 Sibérie, la dernière Nuit (documentary; also<br />

cinematographer, sound engineer)<br />

2004 Ne faites pas de Cinéma! (documentary; also<br />

screenwriter; France / Belgium)<br />

NATANSON, JACQUES (May 15, 1901, Asnièressur-Seine,<br />

Hauts-de-Seine, France–May 19, 1975, Le<br />

Bugne, Dordogne, France)<br />

A playwright since his teenage years, he won huge<br />

fame thanks to his plays L’Âge heureux and Le Greluchon<br />

délicat (1926). His theatrical successes opened doors<br />

to cinema. He was successively an art director (1926<br />

La Fin de Monte-Carlo, Henri Etiévant, Mario Nalpas;

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