Mon Oncle (1958)

The ideal pick for a mixed-language audience, because there is barely any dialogue to translate. What speech there is works almost like a sound effect, and the comedy lives in sight gags: Monsieur Hulot, the bumbling uncle, versus his sister's gadget-crammed Villa Arpel, a modernist house designed for style rather than use. It was Jacques Tati's first film in color, and the contrast between Hulot's crumbling old quarter and the sterile suburb is a gentle but pointed take on postwar France racing toward modernity. Children laugh at the fountain; adults laugh at themselves.