Or each of us has a little love song dedicated to this beautiful film era.
From "Four Hundred Blows" and "Exhausted" to "The Umbrella of Cherbourg" and "Cleo at Five to Seven", the French New Wave, which dates back nearly 60 years, has influenced generations of young people regardless of borders. And the contemporary French director Christopher Honoré grew up in the light and shadow of the New Wave, and he loves movies, especially the charming video time of the New Wave.
In his works, he unabashedly expressed his fascination with the New Wave, among which "Little Love Song of Paris" is a chanson dedicated to the New Wave by his deep affection.
"Little Love Song of Paris"
A tribute to the everyday and poetic nature of the New Wave
Honoré likes to gaze at France with those rambling, realistic empty shots, like the first shot of "Four Hundred Blows", using light and shadow to record the imperceptible poetic side of a city.
Four Hundred Blows
The French love knowledge, love books, new wave lenses amplify these French characteristics, and Honoré's lenses are the same, vividly and interestingly showing the trivialities of French life.
Married Life
In "A Woman Is a Woman", the two argue with the title of the book
Young people love to dream, the New Wave depicts the ghosts and persistence of the dreamers, and Ismail in "Little Love Songs in Paris" loves to be ghostface and sing songs, as if humor can overcome all troubles.
"A Woman is a Woman" Two coax the heroine Angela to be happy
"Little Love Songs in Paris" Ismail performs a funny performance at his girlfriend's family party
A tribute to the romance and sadness of the New Wave
He pays homage to Jacques Demi's romantic song and dance, "The Umbrella of Cherbourg", and like it, "Little Love Song of Paris" is divided into three chapters: departing, absent, returning, and humming in a low voice the twists and turns of lover's story.
On the left is "The Umbrella of Cherbourg" and on the right is "Little Love Song of Paris"
Like Truffaut and Godard, his new wave predecessors, he loved to shape ambiguous three-person relationships and flick on complex and unspeakable modern love.
Like Zu, Cham and Catherine in "Zu and Cham", Arthur, Franz and Odile in "The Extralegal", Emile, Alfred and Angela in "Women are Women", between the three, there is a lot of affection.
"Zu and Zhan"
"A Woman is a Woman"
The Outlaw
Ismail in "Little Love Songs in Paris" is sad and difficult to deal with because of the sudden death of his lover, just like Cleo in "Cleo at Five to Seven", who worries about whether his life has come to an end, the two wander the streets of Paris nervously.
Cleo at Five to Seven
Those new wave after the wave
In addition to using the plot and elements of the film to pay tribute to the New Wave, Christopher Honoré also chose some New Wave descendants as film actors.
The male protagonist, Ismail, played by Louis Garrell, whose father is Philippe Garrell, is known as the son of the New Wave, spanning the French "New Wave" and "Post-New Wave".
Philip Garrell
Louis Garrell
The heroine Julie's sister Jenna, played by Ziara Mastruani, her mother is Catherine Deneuve, her father is Marcelo Mastruani, both of them are great actors, Catherine Deneuve's moving interpretation in "The Umbrella of Cherbourg" is unforgettable, and her countless classic screen images have become indispensable marks of the New Wave.
Marcelo Mastruani is a well-known Italian actor who represents the glorious era of Italian cinema and is the screen incarnation of the famous Italian director Federico Fellini in "Eight and a Half Parts" and "La Dolce Vita".
On the left is mother Catherine Deneuve in The Umbrella of Cherbourg
On the right is her daughter Ziara Mastruani in "Little Love Songs in Paris"
Maybe we are all as deeply in love with the French New Wave, love its courage to break the mold, love its wild romance, love it creates a new world for cinema, love the talented and loving creators behind it.
Godard on the left and Truffaut on the right