The 400 Blows

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.

Le silence de la mer is a daring experiment in restrained plotting and minimal characterization.

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, …

There is, in the end, no denying La Dolce Vita’s impact. It wasn’t just a film. As Antonello Sarno contends, it was (and still is) a “phenomenon in culture, fashion, and society.”

“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.”

Well it’s a new day and here is yet another montage, the second in two days. Lucky for us, it’s just as great. Yesterday we showed you A Brief History of Title Design. This time however, it’s the work of youtuber Hatinhand. He brings us a montage sequence of  amazing movie ending spoilers. Overall there …