Not just the two prime figures of the French New Wave, Jean-Luc Godard and François Truffaut were also close friends. That began to change in the late sixties and early seventies, when their careers diverged dramatically, as Truffaut explored more commercial avenues of filmmaking and Godard’s films grew ever more militantly political. But the cord between them was decisively severed after the release of Truffaut’s immensely popular Day for Night. Godard found the film to be dishonest, and told Truffaut as much in the first of a series of angry letters between the two men. In a new supplement on our release of Day for Night, film scholar Dudley Andrew goes into great detail about this legendary conflict; here’s an excerpt from that interview.
Donald Richie Uncovers the Traces of a Lost Japan
In collaboration with director Lucille Carra, the renowned writer brought his impressionistic travelogue The Inland Sea—an unusual choice for a film adaptation—to the big screen.
A Palette That Sizzles On-Screen
Filmmaker Darnell Martin and writer Nelson George discuss how vividly Do the Right Thing captures the heat of a Brooklyn summer and the diverse skin tones of its cast of color.
A Genius of French Cinema Delivers a Career-Defining Performance
Raimu is at his subtle best in one of the most moving scenes in The Baker’s Wife, a moment in which the actor channels the collective despair of France’s working class.