Grade level: 7, 8, 9, e, i, s.

"A bunch of scruffy urchin kids in the backstreets of Paris outwit thieves to uncover the whereabouts of millions of francs stolen from the Paris-Ventimiglia express. Gaby is the leader, but it is super-cool Marion with her collection of stray dogs who is the heart of the gang. It all begins when a local villain offers the children a fortune for their 'horse' - a headless rocking horse, given old tricycle wheels that they 'ride' down the steep cobbled street, but they don't want to part with it. Then, a few days later, the horse is stolen, and so begins an adventure that is full of twists and turns, leading to a satisfying conclusion when the villains receive their comeuppance."

The digitised spectacles conjured by a word like `blockbuster' may create a certain cognitive dissonance with received ideas about French cinema - long celebrated as a model for philosophical, economic and aesthetic resistance to globalised popular culture. While the Gallic `cultural exception' remains a forceful current to this day, this book shows how the onslaught of Hollywood mega-franchises and new media platforms since the 1980s has also provoked an overtly commercialised response from French producers eager to redefine the stakes and scope of their own traditions. Cutting across a swath of recent French-produced cinema, French Blockbusters offers the first book-length consideration of the theoretical implications, historical impact and cultural consequences of recent popular films that are rapidly changing what it means to make - or to see - a `French' film today. From English-language action vehicles like Valerian and the City of a Thousand Planets (Besson, 2017) to revisionist historical films like Of Gods and Men (Beauvois, 2011) and crowd-pleasing comedies like Intouchables (Toledano & Nakache, 2011), the variously filiated `local blockbusters' from contemporary France brim with the seeds of cultural contradiction, but also with the energy of a forceful counter-history