Breathless (1960 film)  

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Godard's first feature-length film is one of the inaugural and best-known films of the [[French New Wave]]. He wrote it with fellow New Wave director, [[François Truffaut]], and released it the year after Truffaut's ''[[The 400 Blows]]'' and [[Alain Resnais]]'s ''[[Hiroshima, Mon Amour]]''. Together the three films brought international acclaim to the New Wave. Godard's first feature-length film is one of the inaugural and best-known films of the [[French New Wave]]. He wrote it with fellow New Wave director, [[François Truffaut]], and released it the year after Truffaut's ''[[The 400 Blows]]'' and [[Alain Resnais]]'s ''[[Hiroshima, Mon Amour]]''. Together the three films brought international acclaim to the New Wave.
-''Breathless'' shocked contemporary audiences with its bold visual style and editing—much of which [[transgression|broke the rules]] of [[classical Hollywood cinema]]. Most notable of its innovations were jolting [[jump cuts]] and [[hand-held camera]].+''Breathless'' shocked contemporary audiences with its bold visual style and editing—much of which [[Transgressive art|broke the rules]] of [[classical Hollywood cinema]]. Most notable of its innovations were jolting [[jump cuts]] and [[hand-held camera]].
== Synopsis == == Synopsis ==

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For the unrelated short story by Poe, see Loss of Breath

Breathless (French: À bout de souffle; literally "out of breath") is a 1960 film directed by Jean-Luc Godard.

Godard's first feature-length film is one of the inaugural and best-known films of the French New Wave. He wrote it with fellow New Wave director, François Truffaut, and released it the year after Truffaut's The 400 Blows and Alain Resnais's Hiroshima, Mon Amour. Together the three films brought international acclaim to the New Wave.

Breathless shocked contemporary audiences with its bold visual style and editing—much of which broke the rules of classical Hollywood cinema. Most notable of its innovations were jolting jump cuts and hand-held camera.

Synopsis

Michel Poiccard (Jean-Paul Belmondo) is a young thug who models himself on the film persona of Humphrey Bogart. After stealing a car, Michel shoots a policeman who has followed him onto a country road. Penniless and on the run from the police, he turns to his American girlfriend Patricia (Jean Seberg), a student and aspiring journalist, who sells the New York Herald Tribune on the streets of Paris. The ambivalent Patricia unwittingly hides him while they dally in her apartment as he simultaneously tries to seduce her and call in a loan to fund their escape to Italy. At one point, Patricia says she is pregnant with Michel's child. She learns that Michel is on the run when questioned by the police. Eventually, she betrays him, but before the police arrive, she tells Michel what she did. He is somewhat resigned to a life in prison, and doesn't try to escape at first. They shoot him in the street and, after a protracted death run, he dies.




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