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“... and its universal atmosphere of overheated desperation so well, or so affectionately, as François Truffaut’s Day for Night. As a double-edged reminder that it is on the director’s broad shoulders that the success of the enterprise ultimately rests, and that it is only in his head that the complete formula is held, ...”

“... to his New Wave comrades, Rohmer’s work has never been especially cool or iconic, yet more than François Truffaut’s or Jean-Luc Godard’s it divides audiences right down the middle. Those who like his films are often protective and passionate and have seen them all; those who don’t complain of boredom and pointlessness. The complaints are partly ...”

“... think we know where we are, more or less. This is surely the New Wave by way of Neo-Realism, early Truffaut chasing late Rossellini. Didn’t we get over this? How could a film in this vein, namely L’Enfant, written and directed by Luc and Jean-Pierre Dardenne, win the Palme d’Or at Cannes last year? To say nothing of the same prize won by their film ...”

“... dates, progressing from the Roman invasion of 125 BC to the re-election as President in 1988 of François Mitterrand. This abundance of diachronic markers suggests that the New History has been planned with one eye at least on the contextual principles of the New Historicism: Literature will be implicated here more materially than of old in the society and ...”

“... with the images that come to define our collective and personal memories. Born Christian François Bouche-Villeneuve in 1921, Marker (one of his many pseudonyms) spent his childhood, depending on which story you believe, in Cuba, Mongolia or l’Ile aux Moines in the Morbihan. He attended the lycée Pasteur in Paris with Simone-Henriette-Charlotte ...”