ended the fifties when a group of young French, who worked as film critics in the renowned magazine Cahiers du cinéma, decided to support its harsh attacks on the French commercial cinema, which was accused of false bourgeois themselves taking control of the cameras and show the world a new set of films that changed the history of cinema. À bout de souffle is the first film's extraordinary director Jean-Luc Godard, who along with François Truffaut and Claude Chabrol film-founded the philosophical movement known as Nouvelle Vague , which would address the foundations of what is now auteur known as both the paradigms and revolutionize classic narrative style, as the topics to be discussed on the tapes.
The critics and audience were amazed by the love story between a French villain, obsessed with Humphrey Bogart emulate, and a young American journalist whose main job was to sell the New York Herald Tribune on the streets of Paris .
The complex and innovative development of the romance between the two opposing characters, which is constructed due to the time that must pass the young thief hidden in the apartment of the journalist to be searched by the police, is so unpredictable and so lacking of platitudes, half a century later seems not have aged at all.
A young, virtually unknown at that time Jean-Paul Belmondo, embodies one of the most emblematic of world cinema, as existentialist view of life leads him to an alley of dissatisfaction, although cleverly hidden studied under the facade of a lover ends up being his downfall.
Jean Seberg, who would never approach the quality of performance that shows in this film, serves as the counterpart of Belmondo. An independent woman struggling to get jobs as a reporter, but despite the overwhelming life force which boasts throughout the film and the great time that takes up the story, finally unable to escape their fate of women submissive and dependent.
All events in À bout de souffle have the essence of life infused into them randomly, from the absurd Belmondo committing murder against a police officer, to the beautiful final sequence whose dialogue has been the subject of countless articles that discuss its meaning. However, this chance is not limited to the images we see, as all the filming of À bout de souffle was immersed in it through improvised dialogues Godard at the time of the shooting, and even many of the great aesthetic and narrative advances attributed to the tape due to budget shortfalls, such as sequential cuts, stemming from a recommendation made by Jean-Pierre Melville to cut the ribbon to the hour and a half of footage required .
is thanks to this film, which has been inscribed in golden letters as a masterpiece that the world witnessed the genius of Jean-Luc Godard, who at the time still betraying their original motivations and hopefully continue to push the limits of film narrative many years.
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