The French New Wave was the cinematic movement in France from the late 1950s until the late ’60s. It was led by filmmakers likeFrançois Truffaut,Jean-Luc Godard,andAgnès Varda, many of whom had been critics before stepping behind the camera. Although they explored a diverse range of stories, these filmmakers shared a rebellious and experimental spirit.
RELATED:From ‘Diabolique’ to ‘Titane’: 10 Best French-Language Horror Films To Watch
They defied movie contentions, employing unorthodox styles and structures, including jump cuts, nonlinear narratives, and fourth wall breaks. Their movies also commonly explored existential or philosophical themes. The movement was highly influential, both in France and around the world. These films, selected by the users of IMDb, are a great starting place for anyone looking to explore French cinema.
‘Claire’s Knee’ (1970) — IMDb: 7.5/10
Claire’s Kneeisthe signature filmby directorÉric Rohmer. Like most of his movies, it’sa romantic comedyfeaturing lots of philosophical conversation. It’s made up of a series of vignettes beautifully shot byNéstor Almendros, the famed cinematographer who won an Oscar forTerence Malick’sDays of Heaven.
RELATED:5 Essential Films of French New Wave Legend Éric Rohmer
Much of the drama (and comedy) stems from miscommunication or characters misunderstanding each other. “Ultimately, everyone in this film is simply wrong about some basic fact,” Rohmer has said. The character Aurora (Aurora Cornu) expresses this too when she says, “The heroes of a story are always blindfolded. Otherwise, they wouldn’t do anything."
‘Band of Outsiders’ (1964) — IMDb: 7.6/10
This Godard classicrevolves around a language student (Anna Karina) who befriends two gangsters who convince her to help them commit a robbery. All three are cinephiles, so their dialogue is chockfull of movie references. It’s a charming film that breezes by at just 97 minutes long.
RELATED:In Memory of Jean-Louis Trintignant: The French Star’s 10 Most Memorable Performances
It features a dance scene that quickly became iconic. It’s been referenced many times, including byQuentin TarantinoinPulp Fiction. “The [dance] we three weeks rehearsed in a nightclub,” Karina hassaid. “BrasseurandFreydidn’t know how to dance. A choreographer had to teach us how to do the steps. We didn’t know people were going to do it!”
‘Jules and Jim’ (1962) — IMDb: 7.7/10
“I think of the baby we’ll never have.“This romantic dramaby director François Truffaut is synonymous with the French New Wave. It takes place around World War I and follows the love triangle between Jim (Henri Serre), Catherine (Jeanne Moreau), and their Austrian friend Jules (Oskar Werner).
It makes for a moving, bittersweet story and might be Truffaut’s most influential film.Martin ScorsesehassaidthatJules and Jiminspired the voiceover, jump cuts, and the general “punk attitude” ofGoodfellas.
‘Breathless’ (1960) — IMDb: 7.7/10
Breathlessis Jean-Luc Godard’s groundbreaking, pop culture-referencingcrime film. It follows a young man (Jean-Paul Belmondo) who steals a car, kills a cop, and goes on the run. The only person he has to turn to is his American girlfriend (Jean Seberg). The film focuses on his understanding of the situation, with the lead character frequently talking directlyto the audience.
It was an instant success and drew Godard significant attention. He doesn’t seem to have liked this very much. “I feel like I love cinema less than I did a year ago, simply because I made a popular film,” Godardsaidin an interview after the premiere ofBreathless. “I hope people really hate my second film so that I’ll want to make movies again.”
‘The Umbrellas of Cherbourg’ (1964) — IMDb: 7.8/10
The Umbrellas of Cherbourgisa romantic musicalstarringCatherine DeneuveandNino Castelnuovoas Geneviève and Guy, two young people who fall in love but are then separated when Guy is sent to fight in the Algerian War. When he finally returns, he finds out that Geneviève is married.
The film went on to inspire many subsequent directors.Damien Chazellesaidit was his favorite movie of all time, and Quentin Tarantino andRoger Avarypraised it on their Video Archives podcast. When asked why he had the characters sing rather than talk, directorJacques Demysaid, “Why not? It would make life more pleasant.”
‘Cléo from 5 to 7’ (1962) — IMDb: 7.9/10
This film, directed by Agnès Varda, follows the singer “Cleo” (Corinne Marchand) as she waits to hear the results of her cancer test. The movie unfolds in real-time and includes many conversations around death, existentialism, and the meaning of life.
Some have also interpreted it as a political allegory, but Varda says it’s more of a personal story. “I attempt to make films that are related to society but not totally in it,” she has said. “[Cléois] not a film about the Algerian War. It’s not a film about cancer. It’s a film about finding threads in the world.”
‘Hiroshima Mon Amour’ (1959) — IMDb: 7.9/10
Set over a single day,Hiroshima Mon Amourtells the story ofa love affairbetween a French woman (Emmanuelle Riva) and a Japanese man (Eiji Okada) from Hiroshima. They connect over their respective experiences during World War II, and we learn about their lives through flashbacks.
The filmmakers initially conceived of the movie as a documentary but struggled to come up with fresh ideas. A breakthrough came when directorAlain Resnaissuggested that they instead make “a classic love story, in which the atomic bomb would be more of a background.” “Two or three days later, [screenwriter]Marguerite Durascalled to say, ‘I think I have an idea,'” Resnais says.
‘Vivre sa vie’ (1962) — IMDb: 7.9/10
Vivre sa Vie(meaning “live your life”) is probably themost iconic collaborationbetween married couple Jean-Luc Godard and Anna Karina. Karina plays a young woman who leaves her husband and child hoping to become an actress, but her life soon falls apart.
LikeBand of Outsiders, it features a great dance scene. This one was not rehearsed for weeks but was made up on the fly by Karina. “I totally improvised that, and then Godard followed me with the camera,” she has said. “Raoul Coutardis a great cameraman. He could follow anything, he’s really a genius. They liked that scene a lot in Brazil!”
‘Day For Night’ (1973) — IMDb: 8.0/10
Day For Nightrevolves around a director trying tofinish his moviewhile all manner of personal and professional problems get in his way. The production is riddled with affairs, break-ups and conflict. The cast (therealcast) is terrific, especiallyJacqueline Bissetas actress Julie Baker.
It’s Truffault’s love letter to the movies, a meta film about filmmaking. He said he wantedDay for Night"to show why it is good to love the cinema.” The title refers to the technique of shooting scenes in the daytime and making them appear as if they take place at night, usually by using a filter over the camera lens, altering the film stock, or editing them in post.
‘The 400 Blows (1959) — IMDb: 8.1/10
The 400 BlowswasTruffaut’s debutabout a young boy (Jean-Pierre Léaud) in Paris who feels misunderstood by his parents and teachers. He tries to run away from home but is apprehended by the police. It’s a coming-of-age story and a critique of French society in the late ’50s.
The film was a hit in the US and drew a lot of American attention to French cinema. However, Truffaut said it was inspired by American directors likeSidney Lumet,Arthur Penn,Robert Mulligan,andFrank Tashlin. “They’re a total renewal of America cinema,” Truffaut said in a 1960 interview. “They’re extremely alive […] and at the same time quite intellectual. They manage to unite the best of both.”
