Va Savoir (2001)

Va Savoir by Jacques Rivette (2001)

Jacques Rivette, in another production, Va savoir (2001), turns the film into an artistic play from the beginning with his story on the theater stage. In this game, the secrets of six people that are intertwined between past and present are told. These six people, consisting of directors, theater actors, thinkers and intellectuals, bring art performers to the stage with their professions and fields of work and put some kind of art on the table in their own context.

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Cleo de 5 à 7 (1962)

Cleo de 5 à 7 by Agnès Varda (1962)

The most distinguishing feature of the New Wave is that it constantly attacks the audience’s perceptions, who are inclined to believe the reality of the motion picture. No matter how real the story we watch, sometimes an external sound, sometimes suddenly split scenes, and sometimes subtitles added to the image, it reminds us that we are watching a movie.

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Bande à Part (1964)

Bande à Part by Jean-Luc Godard (1964)

Bande à Part is one of the leading films about the love triangle between two men and a woman trio in the history of cinema. Godard is also one of the most beloved films of the cinema. The beauty symbol of two men around a woman depicts her efforts to grab the woman very well. Of course, here, as Odile, we watch Anna Karina, the most beautiful actress in the world of the cinema, identified with Godard as the beauty covered in flesh.

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Sans Toit ni Loi (1985)

Sans Toit ni Loi by Agnès Varda (1985)

The original work of Agnés Varda, Sans Toit ni Loi (1985), conveys a completely different world to its audience. Our main hero is Mona; He is a person who has no place and belongs to anyone, spends his life here and there, without thinking, and at the beginning of the movie he is in a field frozen from the cold. The audience, familiar with the mainstream, immediately wonders why Mona fell into this state, as Varda knows very well.

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Les Quatre Cents Coups (1959)

Les Quatre Cents Coups by François Truffaut (1959)

Andre Bazin, the great cinema theorist, begins his cinema studies by establishing a cinema club in the House of Letters he founded in Paris. Thanks to those who come to the club, new friendships, emerging publications and the effects of those publications, a small movement evolves into the magazine: Les Cahiers du Cinema.

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Baisers Volés (1968)

Baisers Volés by François Truffaut (1968)

The story of Doinel (Jean-Pierre Leaud) in Baisers volés (1968) that he did not belong to the world of adults was actually the remains of Truffaut’s own life. The attitude of the director, who grew up with his stepfather figure in an environment where he could not adapt, by seeing his grandmother rather than his mother, was in parallel with Doinel, who was tangent to 68 uprisings

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