French film director, screenwriter, producer and critic (1932–1984). Leading figure of the French New Wave; first feature The 400 Blows (1959). Created the recurring Antoine Doinel series and directed films until 1984.

Started as a critic at Cahiers du Cinéma. Central figure of the Nouvelle Vague. Frequent collaborators included actor Jean-Pierre Léaud; praised for blending autobiographical themes with genre experimentation.

DeBaser's reviews celebrate Truffaut's recurring themes — love, childhood, and passionate female figures — and his stylistic range from Nouvelle Vague lyricism to noir. Reviewers repeatedly praise The 400 Blows, Jules et Jim and Shoot the Piano Player, highlighting performances by Jean-Pierre Léaud, Jeanne Moreau and Isabelle Adjani. The corpus frames Truffaut as both autobiographical storyteller and genre experimenter.

For:film enthusiasts, students of cinema, Truffaut fans and critics

 Jules and Jim should be watched as one admires a landscape or listens to a beautiful song; the film is a splendid ballad that shifts from moments of poetic lightness to phases of intense tragedy because it embodies Catherine's spirit, who, with her magical presence, is the soul of the story.

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 Do you ever read the books you burn?

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 Julie Kohler, the avenging bride of La Mariée était en noir, is a flawless example: icy, determined, and far from the excesses of Tarantino's "Bride."

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