End of the 1950s. A bunch of young punks (the term does not yet exist, we called them "young Turks") film buffs, decide to defeat
"daddy cinema"
and methodically debunk, in
Les Cahiers du cinema
or in
Arts
, the great formalists of the French 7th art: according to them, Autant-Lara, Duvivier, Grangier, etc.
deserve to be shot like Brasillach.
In their eyes, only Fritz Lang, Howard Hawks, Alfred Hitchcock, and among the French, Jean Renoir matter.
Among these aggressive and very disparate young men (what relation between Rivette, Rohmer, Chabrol, Varda or Eustache, if not the same desire to cut everything down?), One was more literary than his colleagues, and will prove to be less political than his rival Godard: François Truffaut was never a Maoist and had a long correspondence with one of his first supporters, Lucien Rebatet.
A breathtaking realism
Why choose
Les Quatre Cents Coups
(1959) as the flagship film of the New Wave while
Breathless
(1960)
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