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Françoise Bonnot

Françoise Bonnot

Editor · Died June 9, 2018, aged 78 · Bois-Colombes, Hauts-de-Seine, France

Françoise Bonnot (17 August 1939 – 9 June 2018) was a French film editor with more than 40 feature film credits. Bonnot was the daughter of Monique Bonnot, a film editor noted for several films directed by Jean-Pierre Melville. In her first film credit, Françoise Bonnot was the assistant to her mother on Melville's 1959 film, Two Men in Manhattan (1959). She and her mother co-edited the 1962 film, A Monkey in Winter, that was directed by Henri Verneuil. At about this time Bonnot married Verneuil; she edited three more of his films in the 1960s. Bonnot edited Melville's 1969 film, Army of Shadows, when her mother became unavailable. This film is about the French resistance fighters during the Second World War, and was a departure from Melville's more characteristic crime and detective films. Bonnot later remarked that Melville “... had known me since I was eight years old. It was like working with my big brother. He was a character––fascinating, charming, fun and tyrannical.” By 1968, Bonnot had commenced her notable collaboration with director Costa-Gavras that extended over eight films and nearly 30 years. Their first film together was Z (1969); James Berardinelli has written recently that, "Z was the third feature film from Greek-born Costa-Gavras, but it is the movie that captured him to the world's attention, winning a Best Foreign Language Film Oscar. It introduced the director's signature approach of combining overt political messages with edge-of-the-seat tension." After Z, their most widely recognized film together is probably Missing (1982). Their last film together was Mad City (1997). Throughout her life, Bonnot edited the films directed by Julie Taymor, who had been known primarily as a stage director. Their films include Frida (2002) and The Tempest (2010). Bonnot won the Academy Award for Film Editing for Z (1969), and the BAFTA Award for Best Editing for Missing (1982). She was nominated three times for the César Award for Best Editing (for The Simple Past (1977), Hannah K. (1983) and Place Vendôme (1998)). She had been elected to membership in the American Cinema Editors. Bonnot and Henri Verneuil had two children. Their son, Patrick Malakian, is a film director; Bonnot edited his 1994 French-language film Pourquoi maman est dans mon lit?. Bonnot died on 9 June 2018 in Paris, France aged 78. Source: Article "Françoise Bonnot" from Wikipedia in English, licensed under CC-BY-SA.

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Biography from TMDB.

Born
August 17, 1939
Died
June 9, 2018 (aged 78)
From
Bois-Colombes, Hauts-de-Seine, France
Works as
Editor
Titles
39 on MovieCove · 45 credits in all
Links
IMDb (opens in a new tab)TMDB (opens in a new tab)Wikidata (opens in a new tab)

Known for

TMDB popularity, last 37 days to Oct 26Down 17% in 30 days

What are Françoise Bonnot's films like?

Across their 37 MovieCove titles with a thematic analysis, their films lean Morality and Bonds.

Genres

Drama15 titlesTypical Midcredits score: 77th percentile, at or above their average across these genres
: browse their Drama movies
Comedy7 titlesTypical Midcredits score: 29th percentile
: browse their Comedy movies
Crime5 titlesTypical Midcredits score: 92nd percentile, at or above their average across these genres
: browse their Crime movies
Action4 titlesTypical Midcredits score: 53rd percentile
: browse their Action movies
Biography4 titlesTypical Midcredits score: 84th percentile, at or above their average across these genres
: browse their Biography movies

Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.

Themes

share of theme weight
Morality
29%
Bonds
18%
Self
16%
Power
15%
Survival
10%
Society
9%
Ideas
2%
Justice9 titles, browse their movies with this themeRomantic love7 titles, browse their movies with this themeOppression5 titles, browse their movies with this themeIdentity4 titles, browse their movies with this themeFamily bonds4 titles, browse their movies with this themeCommunity6 titles, browse their movies with this themeRevenge3 titles, browse their movies with this themeAmbition4 titles, browse their movies with this theme

What they feel like to watch

their average across 37 films
ToneFeelDemandtheir average · filled zone: the category
Dark: How heavy the subject matter and outlook get. Browse their dark movies.
Tone · Weight
lightdark

Light 6 · Serious 11 · Dark 20

Stylized: How far its world departs from everyday reality. Browse their stylized movies.
Tone · Style
naturalisticheightened

A split, not a type: Grounded 17 · Stylized 12 · Heightened 8

Charged: How hard the emotional peaks hit while you watch. Browse their charged movies.
Feel · Intensity
gentleintense

A split, not a type: Gentle 7 · Charged 12 · Intense 18

Shifting: How much it swings between very different feelings. Browse their shifting movies.
Feel · Swings
steadyswings

A split, not a type: Steady 19 · Shifting 17 · Whiplash 1

Straight-faced: How much of the runtime is played for laughs. Browse their straight-faced movies.
Feel · Humor
noneconstant

Straight-faced 26 · Some laughs 9 · Funny 2

Even-paced: How fast it moves from scene to scene. Browse their even-paced movies.
Demand · Pace
slowrelentless

A split, not a type: Slow burn 18 · Even-paced 17 · Relentless 2

Engaged: How much focus it asks of you — look away and lose the thread? Browse their engaged movies.
Demand · Attention
casualfull focus

Casual 11 · Engaged 17 · Full focus 9

Affecting: How much it costs you emotionally; whether you need recovery time. Browse their affecting movies.
Demand · Emotional cost
easyheavy

A split, not a type: Easy watch 6 · Affecting 10 · Heavy 21

Resolved: How much is left for you to interpret. Browse their resolved movies.
Demand · Resolution
resolvedambiguous

Resolved 21 · Open-ended 12 · Ambiguous 4

Moods and endings

endings are an aggregate; no title is named

Dominant moods · mentions across their titles

Tense
25
Melancholic
19
Dread
9
Romantic
5
Bittersweet
7
Other
31

How their films linger

Bittersweet16 titles, browse their movies with this aftertasteThought-provoking11 titles, browse their movies with this aftertasteHaunting10 titles, browse their movies with this aftertasteHopeful10 titles, browse their movies with this aftertasteUnsettling7 titles, browse their movies with this aftertasteInfuriating5 titles, browse their movies with this aftertaste

How their films end · 4 with a twist

  • Happy6
  • Bittersweet22
  • Tragic5
  • Ambiguous4

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Françoise Bonnot's films?

As of October 24, 2026, 14 of their 39 MovieCove titles stream on a subscription or free service.

Also on these channels

Subscription and free streaming for Françoise Bonnot's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

45 credits, 39 with a MovieCove page; 1 appearance as themselves is hidden until asked for.

  • El Gusto(2011)

    Editor

    Midcredits score: 93rd percentile of all films

  • A View of Love (not in the MovieCove catalog yet)(2010)

    Editor

  • The Tempest(2010)

    Editor

    Midcredits score: 26th percentile of all films

  • Across the Universe(2007)

    Editor

    Midcredits score: 86th percentile of all films

  • Around the Bend(2004)

    Editor

    Midcredits score: 50th percentile of all films

  • Frida(2002)

    Editor

    Midcredits score: 90th percentile of all films

  • Disappearing Acts(2000)

    Editor

    Midcredits score: 58th percentile of all films

  • Titus(1999)

    Editor

    Midcredits score: 77th percentile of all films

  • Place Vendôme(1998)

    Editor

    Midcredits score: 51st percentile of all films

  • Mad City(1997)

    Editor

    Midcredits score: 49th percentile of all films

  • The Apartment(1996)

    Editor

    Midcredits score: 87th percentile of all films

  • A Weekend in the Country(1996)

    Editor

    Midcredits score: 20th percentile of all films

  • Pourquoi maman est dans mon lit?(1994)

    Editor

    Midcredits score: 19th percentile of all films (provisional, few ratings)

  • The Burning Season: The Chico Mendes Story(1994)

    Editor

    Midcredits score: 77th percentile of all films

  • 1492: Conquest of Paradise(1992)

    Editor

    Midcredits score: 52nd percentile of all films

  • Fat Man and Little Boy(1989)

    Editor

    Midcredits score: 57th percentile of all films

  • Le palanquin des larmes(1988)

    Editor

    Midcredits score: 68th percentile of all films

  • The Sicilian(1987)

    Editor

    Midcredits score: 24th percentile of all films

  • Year of the Dragon(1985)

    Editor

    Midcredits score: 72nd percentile of all films

  • Top Secret!(1984)

    Editor

    Midcredits score: 87th percentile of all films

  • Swann in Love(1984)

    Editor

    Midcredits score: 53rd percentile of all films

  • Black List(1984)

    Editor

    Midcredits score: 38th percentile of all films

  • Hanna K. (not in the MovieCove catalog yet)(1983)

    Editor

  • Missing(1982)

    ADR Mixer · Editor

    Midcredits score: 95th percentile of all films

  • I Sent a Letter to My Love (not in the MovieCove catalog yet)(1980)

    Editor

  • Womanlight(1979)

    Editor

    Midcredits score: 53rd percentile of all films

  • Judith Therpauve (not in the MovieCove catalog yet)(1978)

    Editor

  • The Last Romantic Lover(1978)

    Editor

    Midcredits score: 29th percentile of all films

  • The Cassandra Crossing(1976)

    Editor

    Midcredits score: 50th percentile of all films

  • Black and White in Color(1976)

    Editor

    Midcredits score: 67th percentile of all films

  • The Tenant(1976)

    Editor

    Midcredits score: 94th percentile of all films

  • Le Futur aux trousses (not in the MovieCove catalog yet)(1975)

    Editor

  • Special Section(1975)

    Editor

    Midcredits score: 93rd percentile of all films

  • Life Size (not in the MovieCove catalog yet)(1974)

    Editor

  • Massacre in Rome(1973)

    Editor

    Midcredits score: 62nd percentile of all films

  • State of Siege(1972)

    Editor

    Midcredits score: 97th percentile of all films

  • Four Flies on Grey Velvet(1971)

    Editor

    Midcredits score: 67th percentile of all films

  • The Confession(1970)

    Editor

    Midcredits score: 97th percentile of all films

  • Army of Shadows(1969)

    Editor

    Midcredits score: 98th percentile of all films

  • Z(1969)

    Editor

    Midcredits score: 98th percentile of all films

  • Guns for San Sebastian(1968)

    Editor

    Midcredits score: 68th percentile of all films

  • The 25th Hour(1967)

    Editor

    Midcredits score: 90th percentile of all films

  • Any Number Can Win(1963)

    Editor

    Midcredits score: 92nd percentile of all films

  • A Monkey in Winter(1962)

    Editor

    Midcredits score: 93rd percentile of all films

  • Two Men in Manhattan(1959)

    Assistant Editor

    Midcredits score: 65th percentile of all films

Career shape

A full career of 42 titles from 1959 to 2012.

Biggest box office

Frida (2002)

$56M worldwide

Highest rated

Army of Shadows (1969)

Midcredits 98th

Most popular right now

Year of the Dragon (1985)

By role

only this rolewith another role
Editing41 of 42: 40 only editing, 1 with another role · typical Midcredits score68thOther crew2 of 42: 1 only other crew, 1 with another role

By decade

1950s1 · crew1960s6 · crew1970s13 · crew1980s8 · crew1990s7 · crew2000s4 · crew2010s3 · crew

Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.

How do Françoise Bonnot's films land?

Their typical MovieCove film has a Midcredits score in the 68th percentile, the median of all 39; across their 37 films with reception data, the typical film sits in the 70th percentile for acclaim.

Acclaim · how much people like their films

70thpercentile
Typical film, the median of 37

Approval · how many liked their films

67thpercentile
Typical film, the median of 37

Reach · how many have seen their films

78thpercentile
Typical film, the median of 37

Midcredits score across 39 titles, by percentile

  • 75th and up17
  • 50th to 74th15
  • 25th to 49th4
  • Below 25th3

Shape of the crowd

20 of their 39 titles are Crowd Pleasers.

  • Universally Loved12
  • Cult Classic1
  • Crowd Pleaser20
  • Broadly Agreed2
  • Mixed4

Most divisive · editor

The Last Romantic Lover (1978)

71st percentile spread · 25% rated it 4 or lower

Most loved · editor

Army of Shadows (1969)

Midcredits 98th · 87% liked

Reviewers score the pacing 46/100 in their films, across 31 reviewed titles; fans 55, detractors 27. The element that speaks to their work as an editor.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Is Françoise Bonnot's work okay for kids?

Across up to 16 MovieCove titles with content scores, violence & gore, sex & nudity and frightening / intense run heavier than most films.

Their medianMedian of all filmsMiddle 80% of their titles
Violence & Gore10 titles38–83 · median 67 · intenseheavier than most filmsMedian of all films: 44
Sex & Nudity16 titles18–68 · median 52 · moderateheavier than most filmsMedian of all films: 32
Profanity11 titles24–53 · median 33 · mildnear the median of all filmsMedian of all films: 36
Alcohol & Drugs11 titles27–64 · median 34 · mildnear the median of all filmsMedian of all films: 33
Frightening / Intense11 titles28–79 · median 59 · moderateheavier than most filmsMedian of all films: 39

Severity 0–100 from the Content Guide. Categories with under 10 votes on a title are not counted. The band's colour is the severity of their median, named beside it.

Who does Françoise Bonnot work with?

People who share at least 2 of Françoise Bonnot's MovieCove titles, grouped by what they did on them; Costa-Gavras shares the most, 6.

Directors

Writers

Actors

Composers

Producers