After a spell in theatre and television, Binoche emerged around 1985 with small parts in Jean-Luc Godard's Je vous salue, Marie / Hail Mary! (1984) and Jacques Doillon's La Vie de famille (1985), and the lead in André Téchiné's Rendez-vous (1985). Her gamine looks and seductive combination of spontaneity and sensuality recalled New Wave actresses, especially in Léos Carax's Mauvais sang / The Night is Young (1986) and Les Amants du Pont-Neuf (1991). Lately, she has moved towards more "mature" parts and an international career, with Philip Kaufman's The Unbearable Lightness of Being (1987, US) Louis Malle's Damage / Fatale (1992, UK/France), Krzysztof Kieslowski's Trois couleurs bleu / Three Colours: Blue (1993), Anthony Minghella's The English Patient (1995, US) and Chantal Akerman's Un divan à New York (1996, France/Belgium). Jean-Paul Rappeneau's Le Hussard sur le toit / The Horseman on the Roof (1995) extended her range further into French popular cinema.