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To Be and To Have (French: Être et avoir; also the UK title) is a 2002 French documentary film directed by Nicolas Philibert about a small rural school. It was screened as an "Out of Competition" film at the 2002 Cannes Film Festival [ 2 ] and achieved commercial success. [ 3 ]
Auxiliary verb: avoir (arriver, entrer, monter, passer, rester, rentrer, retourner, and tomber use être) Spelling rules: In -cer verbs, the c becomes a ç before endings that start with a or o , to indicate that it is still pronounced /s/ (je déplac-e - nous déplaç-ons); similarly, in -ger verbs, the g becomes ge before such endings, to ...
Aside from être and avoir (considered categories unto themselves), French verbs are traditionally [1] grouped into three conjugation classes (groupes): . The first conjugation class consists of all verbs with infinitives ending in -er, except for the irregular verb aller and (by some accounts) the irregular verbs envoyer and renvoyer; [2] the verbs in this conjugation, which together ...
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In French, the equivalent of the English existential clause "there is/are" is expressed with il y a (infinitive: y avoir), literally, "it there has" or "it has to it". As an impersonal verb, the verb may be conjugated to indicate tense, but always remains in the third person singular. For example Il y a deux bergers et quinze moutons dans le pré.
The passé composé is formed by the auxiliary verb, usually the avoir auxiliary, followed by the past participle.The construction is parallel to that of the present perfect (there is no difference in French between perfect and non-perfect forms - although there is an important difference in usage between the perfect tense and the imperfect tense).
An example of a future tense form is the French achètera, meaning "will buy", derived from the verb acheter ("to buy"). The "future" expressed by the future tense usually means the future relative to the moment of speaking, although in contexts where relative tense is used it may mean the future relative to some other point in time under ...
These contacts shaped Brossard's future preoccupations. He enthusiastically embraced Italian music; he became a collector of musical manuscripts and music treatises; he perfected his knowledge of musical theory; and autodidact though he was, he honed his compositional skills.