I have watched the first three films several times. Each time, the experience is cathartic.These Berri films are faithful to life as lived in the regions and places, classes, genders and epochs -- in the case of "Jean de Florette" a disturbing picture is given of post-World War I rural life (in Provence)-- with peasant envy and rivalry, caught between miserliness and shrewd ambition. Village jealousy destroys Florette's dream of returning and improving the yield of the land. The sequel, "Manon des Sources- Manon of the Spring," brings some kind of nemesis but only ambiguous happiness. Each of these two masterworks contains unforgettable scenes and lines such as the villain Ugolin's "It is not me but my eyes that are weeping", in "Jean de Florette". I will never forget Ugolin's tortured face as he suffers the profound unhappiness of unrequited love, in "Manon des Sources".In case of "Germinal," based on Zola's novel, Berri achieves an evocation of 19th century working class life, caught in limbo between generosity and hunger at a time when a young daughter's choice to live with a lover or to marry means a loss of family income scratched from the mines. Unforgettable for me is the scene of Catherine giving herself to Chaval for buying her a ribbon. Berri's film captures the bourgeoisie's economic wealth and classic but hypocritical creed than Zola's faith and hope in change.I will share my thoughts on "Lucie Aubrac" as soon as I have viewed the film.