When the younger of the two becomes a filmmaker with Les 400 coups (The 400 Blows), which triumphs in Cannes in 1959, he helps his older friend shift to directing, offering him a screenplay which already has a title, A bout de souffle (Breathless). Through the 1960s the two loyally support each other.
History and politics separate them in 1968 and afterwards - when Godard plunges into radical politics but Truffaut continues his career as before. Between the two of them, the actor Jean-Pierre Léaud is torn like a child caught between two separated and warring parents. Their friendship and their break-up embody the story of French cinema.
Exploring the letters, personal archives and films of the two New Wave directors, Two in the Wave takes us back to a prodigious decade that transformed the world of cinema.
Official selection, Cannes Classics 2009
Week Commencing 8th April
|The Aubin Cinema
||64-66 Redchurch St
||London E2 7DP
||0845 604 8686
||10 April only|
|Showroom||7 Paternoster Row
||Sheffield S1 2BX
||0114 275 7727
||13 April only|
|Aberystwyth Arts Centre||Penglais
||Aberystwyth SY23 3DE
||13 April only|
Week Commencing 15.04.2011
|Riverside Hammersmith||Crisp Rd||London W6 9RL||020 8237 1111||17 April only|
|Arts Picturehouse||38/39 St Andrews Street
||Cambridge||0870 755 1242
||17 April only|
|Barn Cinema||The Elmhirst Centre, Dartington Hall||Totnes, Devon TQ9 6EL||01803 847000||19 April only|
|GFT||12 Rose St||Glasgow G3 6RB||0141 332 6535||20-21 April|
In 1984, he created the independent production company Films à Trois. He has since directed a number of short and feature-length documentaries.
Two in the Wave is his latest film.
Written by Antoine de Baecque.
Photography Nicholas de Pencier, Etienne Carton de Grammont
Sound Henri Maïkoff
Editing Marie-France Cuenot
Produced by Emmanuel Laurent
Production Manager Martin de la Fouchardière
With Isild Le Besco.
With the support of Procirep/Angoa.
With the participation of Argos Film, Cine Tamaris, Gaumont. Les Films du Jeudi, MK2, Studio Canal, Warner Bros., INA, Gaumont Pathé Archives, RTBF.
A continually fascinating documentary
Philip French, The Observer Full review
‘Archive photographs, interviews and film clips make this a fascinating history lesson.’
Derek Malcolm, The Standard
‘The two men’s progress from firebrand critics to era-defining filmmakers is narrated with economy and elegance. Some of the newsreel footage and old movie clips are delectable…’
Sukdev Sandhu, The Daily Telegraph‘Makes you want to spend all day doing nothing but hop from cinema to cinema’
Dave Calhoun, Time Out★★★★
‘A treat…a fascinating biography.’
The film itself is playful… informative without ever feeling didactic… entertaining and an almost perfect introduction to the New Wave.’
‘If you've an interest in film, or film-making,…then this film is commended to you.’
Andrew Robertson, Eye for Film
Read the Financial Times article by Tobias Grey
“ (The film) gathers newspaper clippings, newsreel footage and movie clips to assemble a present-tense essay that is both time capsule and collage... A powerful reminder of just how exciting that work remains.”
– A.O. Scott, The New York Times. Click here to read full review
“CRITICS’ PICK! This offbeat doc about their complex relationship – as artists, critics, and friends –effectively conveys the energy of that dramatic period in pop-cultural history.”
– Bilge Ebiri, New York magazine
“Wonderful early newsreel and interview footage of the budding young auteurs… Those were heady days, the stuff of future legend and
an inspiration to innumerable aspiring filmmakers for decades to come”
Todd McCarthy, Variety Click here to read full review
“Last year marked the 50th anniversary of the French New Wave…in keeping with this anniversary, director Emmanuel Laurent has produced a documentary...
Stephen Farber, The Hollywood Reporter
“Thrilling…a meditation on two masters and their influence.”
Joe Neumajer, New York Daily News“Kicks up a good splash. A tangy array of printed documents and archival footage. Smartly selected clips from films by Godard and Truffaut reveal surprising parallels in their work.”
– Richard Brody, The New Yorker