Sophie LUCET and Jean-Louis Libois (dir.) National audience. Through two examples of opposite achievements, a place drill for a meeting of François Dupeyron (1988), a film known as ‘author’ in which Catherine Deneuve participated in the production, and Indochine, superproduction of Régis Wargnier (1992), a film-vehicle for star, we are trying to determine the extent to which Catherine Deneuve can be regarded as the author of her films. We try to define what characteristics of the notion of author Catherine Deneuve can claim or respond to, depending on the nature of the film and the timing of his involvement in the projects of these two achievements. We then set out the limits of this concept of actor/author, which lead us to a fairer definition of the star-author as defined by Richard Dyer, in the sense that the actress, without being the prime contractor of the project, always plays a significant role in the aesthetic choices of the film, whether objectively or subjectively.