François Truffaut

Paris Belongs to Us defies genre and defies even the loose standards of the New Wave. It does, however, undeniably represent the cinema of Jacques Rivette.

“Day for Night,” a much loved, widely awarded, and truly joyous work about the trials and triumphs of making a film and the extraordinary power of motion pictures as objects of affection and obsession.

There is still the same cinematic playfulness, a combination of genuine skill, pervasive influence, and rampant passion for the medium itself, but with The Soft Skin, Truffaut slows things down somewhat, takes a breath, matures.

The first time I saw anything from a Godard film, I hated it. My first encounter with his work was perhaps appropriately abrupt and fragmentary. I was in my first year as a Film Studies major, in an introductory class about the French New Wave. Having grown up on a steady diet of Hollywood classics, …

The French New Wave, that cinematic movement from the 1960s that essentially defined iconoclasm for film, has undoubtedly had its impact on nearly everything, from film to music to style. And given its indelible impact on cultural history, it’s one of the easiest artistic movements to pull from, as demonstrated from three key music videos …

“Though dealing with adults and serious adult situations, ‘Jules and Jim’ exhibits a formal sense of unbridled glee, with brisk editing, amusing asides, and a sinuously mobile camera. It is alive like few films are.”

“This is essentially a story of human frailties and foibles — all wrapped up in a lovely package and scored by the great Georges Delerue”. Day for Night (La Nuit Américaine) Directed by François Truffaut Written by François Truffaut France, 1973 A clutch of in-jokes and a plethora of film references punctuate François Truffaut’s Day …