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At the end of the 20th century, the notion of national cinemas had become problematic in many of the traditional film cultures of western Europe. This is not to say that national cinemas had ceased to exist—the situation of France would contradict such an assertion—but that the trends toward international coproduction and toward filmmakers and performers working in different countries and languages had reached a stage where coherent film movements identified with a particular national culture, such as Italian Neorealism, the French New Wave, or New German Cinema, had become difficult to identify or sustain. A film such as Heaven ...(100 of 44918 words)