Comparing Inglourious Basterds with Jean Renoir's cinema can be a critical proposal. Claiming that its characters quote The Grand Illusion requires different evidence.
A comparison is not the same as a line from the screenplay
No verifiable mention of Jean Renoir or The Grand Illusion has been identified in the Paris conversations that would allow it to be treated as an explicit quotation in Inglourious Basterds. The film contains many cinematic references, but their abundance does not authorise adding titles on the basis of thematic affinity. To speak of a specific line, it would be necessary to locate it in a particular version.
The screenplay consulted also offers no basis for reconstructing a supposed dialogue about Renoir between Shosanna and Zoller. It is not advisable to attribute views on a real film to those characters when the passage is not documented. Accuracy matters especially because their conversations do include specific references whose function depends on preserving the correct names.
What The Grand Illusion can add as a comparison
Jean Renoir's The Grand Illusion is a 1937 film that sets relations between prisoners and officers during the First World War. A comparison with Inglourious Basterds can be proposed on the basis of questions about nationality, language, hierarchy and ties between enemies. That comparison belongs to the work of the viewer or critic, unless there is documentation expressly attributing it to the director.
The differences are as relevant as the similarities. A general relationship with war cinema does not make their stories or their ways of depicting violence equivalent. Using Renoir's film as a reference may help frame a question, but it should not be used to invent a shot-for-shot homage that the images do not demonstrate.
Nor is it enough that both films include characters capable of speaking several languages. Multilingualism can serve different functions depending on the situation and context. In Tarantino's film, a way of speaking can become a dangerous test of identity. That observation does not in itself establish a specific debt to Renoir.
How to distinguish three levels of relation
An explicit mention occurs when a name or title actually appears in the dialogue or the image. A documented influence requires statements or material that allow a relationship to be attributed to those responsible. A critical comparison can suggest similarities without claiming either of the previous two things. These levels are compatible, but not interchangeable.
In this query, what can be sustained is the possibility of a comparison, not the existence of a documented Parisian quotation. Keeping that limit allows one to talk about cinema without turning a reasonable association into a false element of the screenplay. Renoir can enter the analysis conversation; that does not mean that his words or his name form part of the characters' conversations.
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