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The 400 Blows (French: Les quatre cents coups) is a 1959 French coming-of-age drama film, and the directorial debut of François Truffaut, who also co-wrote the film. Shot in the anamorphic format DyaliScope , the film stars Jean-Pierre Léaud , Albert Rémy , and Claire Maurier .
- François Truffaut, Georges Charlot
- Jean Constantin
- 4 May 1959 (France)
Oct 5, 2016 · By 1960, films from the continent continued to dominate the LFF, such as François Truffaut’s Shoot the Pianist and Michelangelo Antonioni’s L’Avventura. But this fourth festival was also the first to feature a British film, Karel Reisz’s now-iconic Saturday Night and Sunday Morning. The design of its posters was progressing too.
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Biography - Filmography - Poster Gallery. Francois Roland Truffaut (February 6, 1932 – October 21, 1984) was one of the founders of the French New Wave, and remains an icon of French cinema. In a career lasting just over a quarter of a century, he was screenwriter, director, producer and actor in over twenty-five films.
Apr 12, 2024 · Francois Truffaut, French film critic, director, and producer who was a pioneer in the New Wave movement. He was perhaps best known for the Antoine Doinel saga, including The 400 Blows, Stolen Kisses, and Bed & Board. His other notable films included Jules et Jim and Day for Night.
Les Quatre Cents Coups was widely acclaimed on its release, winning numerous awards, including the Best Director Award at the 1959 Cannes Film Festival. Luminaries such as Jean Cocteau praised the film highly and journalists were quick to associate it with the New Wave of films coming out of France.
- Henri Decae
- Francois Truffaut
- Francois Truffaut
- Francois Truffaut and Marcel Moussy
Sep 23, 2007 · FRANÇOIS TRUFFAUT’S “400 Blows” is now an official classic of French cinema, but when it had its premiere, at the 1959 Cannes Film Festival, it didn’t much look like one.
Apr 8, 2014 · François Truffaut’s first feature, The 400 Blows (Les Quatre cents coups), was more than a semi-autobiographical film; it was also an elaboration of what the French New Wave directors would embrace as the caméra-stylo (camera-as-pen) whose écriture (writing style) could express the filmmaker as personally as a novelist’s pen.
