Bertrand Tavernier's substantial oeuvre could hardly be more varied. The filmmaker seeks to challenge himself in different ways with each film, refusing to be pigeonholed. This book commences with introductory remarks on the French filmmaker, Bertrand Tavernier, and his works. Tavernier has made twenty-one feature films, six documentaries, and several short films. Tavernier's oeuvre is unified by a recognizable constellation of ideas at its core. His Lyon, le regard intérieur, and his 'merveilleux lyonnais' ties filmmaking to the magic of childhood. The book chapter explores the significance of generations in Tavernier's films and in his career. The notion of generations has far-reaching implications in his work, ranging from literal families to successive 'waves' of filmmakers in the history of French cinema. The book examines this pervasive network of themes, reveals Tavernier's social, political, and affective worldview, and identifies him in terms of 'generational consciousness'. It discusses how L'Horloger de Saint-Paul presents itself as post-war, post-colonial, post-1968, and post-New Wave. L'Horloger de Saint-Paul suggests that the theme of conflicts between generations may ultimately be a red herring. Tavernier works instead to reconnect generations, showing that rebellion, solidarity, influence, and even memory are two-way streets. Tavernier's portraits of professional artists, focusing on Des enfants gâtés, Un dimanche à; la campagne, and Autour de minuit are also discussed. Daddy nostalgie is examined through the lens of melodrama, the nostalgia that comes into focus not only as an emotion but also as a historical dimension and a gateway to social engagement.