Reunion

Before Midnight

Le Roi des cons

The Birth of Children of Paradise

Paris mange son pain

Love in the Afternoon

The Rainbow Thief

The Bengali Night

Round Midnight

Subway

Tchao Pantin

The Trout

Coup de Torchon

The Fiendish Plot of Dr. Fu Manchu

Don Giovanni

Fedora

Roads to the South

Mr. Klein

The Man Who Would Be King

Story of a Love Story

Promise at Dawn

The Private Life of Sherlock Holmes

Uptight

A Flea in Her Ear

The Night of the Generals

How to Steal a Million

Kiss Me, Stupid

Behold a Pale Horse

Irma la Douce

Five Miles to Midnight

One, Two, Three

Paris Blues

Goodbye Again

The Apartment

Once More, with Feeling!

The Great Deception

The Nun's Story

Be Beautiful and Shut Up

Witness for the Prosecution

The Happy Road

Plucking the Daisy

Land of the Pharaohs

Rififi

Torticola versus Frankensberg

The Seven Deadly Sins

The Green Glove

Othello

Chicago Digest

Juliette, or Key of Dreams

Mystery Tour

Gates of the Night

Sophie's Misfortune

Children of Paradise

Summer Light

Stormy Waters

Daybreak

Hôtel du Nord

The Curtain Rises

Port of Shadows

Hatred

Bizarre, Bizarre

Zouzou

L'Âge d'or

Alexandre Trauner (born Sándor Trau; 3 August 1906 in Budapest, Hungary – 5 December 1993 in Omonville-la-Petite, France) was a Hungarian film production designer.
After studying painting at Hungarian Royal Drawing School, he left the country in 1929, fleeing from the antisemitic government of Admiral Horthy. In Paris, he became the assistant of set designer Lazare Meerson, at the studios in Épinay-sur-Seine working on such films as À nous la liberté (1932) and La Kermesse héroïque (1935). In 1937, he became a chief set designer.
Trauner worked with director Marcel Carné for some years on such films as Port of Shadows (Quai des brumes, 1938), Le Jour se lève (1939), and Children of Paradise (Les Enfants du paradis, 1945). Trauner worked in hiding on Children of Paradise, which was filmed at the Victorine Studios in Nice during 1943 and 1944 during the Nazi's Occupation of France.
He worked with Billy Wilder on eight films between 1958 and 1978, including the sets for The Apartment (1960), on which he made use of false perspective, a characteristic of his work. For his work on this film, he won an Academy Award. He also worked on John Huston's The Man Who Would Be King (1975), Joseph Losey's Don Giovanni (1979), and Luc Besson's Subway (1985).
In 1980, he was a member of the jury at the 30th Berlin International Film Festival.

