Quote:
French director Francois Truffaut’s newest film is a tribute to American film noir. It is based on a 1962 novel by Charles Williams that blends mystery and comedy genres. Jean-Louis Trintignant plays Julien, a real estate agent who finds himself under suspicion for the murder of a friend. When his wife is killed shortly afterwards, Julien goes into hiding.
Barbara (Fanny Ardant), his feisty secretary who secretly loves him despite his penchant for beautiful blondes, volunteers to help clear his name. Donning a trench coat appropriate for the challenge at hand, she sallies forth on her own investigation. She soon discovers confusing clues and meets sinister figures, including a pimp, a movie-house cashier, a priest, and a smooth talking lawyer.

Fanny Ardant, seen in Truffaut’s The Woman Next Door, puts on ample display her sexual allure, energy, and charm. Her character turns out to be a quick-thinking woman able to venture into unknown territory while consistently maintaining her poise. Jean-Louis Trintignant is just right as a self-possessed man in water over his head who is willing to let his “gal Friday” bail him out. The black-and-white photography by Nestor Almendros is classy. Confidentially Yours percolates with just the right mix of good fun and surprises.

Francois Truffaut - (1983) Confidentially Yours.mkv

General
Container:  	Matroska
Runtime: 	1h 50mn
Size: 	2.00 GiB
Video
Codec: 	x264
Resolution: 	960x576 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	2 385 Kbps
BPP: 	0.180
Audio
#1:  	French 2.0ch AC-3 @ 192 Kbps

https://nitro.download/view/C9A77A0F8FD77B5/Francois_Truffaut_-_(1983)_Confidentially_Yours.mkv

Language(s):French
Subtitles:English

The post François Truffaut – Vivement dimanche! AKA AKA Confidentially Yours (1983) first appeared on Cinema of the World.

Quote:
For young Parisian boy Antoine Doinel, life is one difficult situation after another. Surrounded by inconsiderate adults, including his neglectful parents, Antoine spends his days with his best friend, Rene, trying to plan for a better life. When one of their schemes goes awry, Antoine ends up in trouble with the law, leading to even more conflicts with unsympathetic authority figures.

Les.quatre.cents.coups.1959.576p.BluRay.DD1.0.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 40 min
Size: 	4.66 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	5 805 kb/s
BPP: 	0.542
Audio
#1:  	French 1.0ch AC-3 @ 224 kb/s (Unfiltered / MK2 FRA PAL DVD (2001))
#2:  	French 1.0ch AC-3 @ 256 kb/s (Filtered / Criterion Collection USA Blu-ray (2025))
#3:  	French 1.0ch AAC LC @ 96.0 kb/s (Commentary by journalist/film critic Serge Toubiana and film critic/actor Robert Lachenay / Artificial Eye GBR Blu-ray (2014))
#4:  	English 1.0ch AAC LC @ 96.0 kb/s (Commentary by film professor & author Brian Stonehill / Criterion Collection USA Blu-ray (2025))
#5:  	English 1.0ch AAC LC @ 96.0 kb/s (Commentary by film critic Glenn Kenny / Fox Lorber USA NTSC DVD (1999))

https://nitro.download/view/D94E7AAB3EB4720/Les.quatre.cents.coups.1959.576p.BluRay.DD1.0.x264-KG.mkv

Language(s):French
Subtitles:English, Bulgarian, Chinese, Czech, Croatian, Danish, Dutch, Finnish, French, German, Greek, Hungarian, Indonesian, Italian, Macedonian, Norwegian, Polish, Portuguese, Romanian, Spanish, Serbian, Slovenian, Swedish, Thai, Turkish

The post François Truffaut – Les quatre cents coups AKA The 400 Blows (1959) first appeared on Cinema of the World.

Quote:
In the carefree days before World War I, introverted Austrian author Jules strikes up a friendship with the exuberant Frenchman Jim and both men fall for the impulsive and beautiful Catherine.

Quote:
When François Truffaut was a twenty-three-year-old film critic, in 1955, he read an autobiographical first novel by a seventy-four-year-old writer, Henri-Pierre Roché. “The book overwhelmed me,” he later recalled, “and I wrote: If I ever succeed in making films, I will make Jules and Jim.” Six years later—after constantly rereading and even partly memorizing Roché’s novel—he more than redeemed that promise. Sixties audiences didn’t merely see his movie. They wanted to live it.

Jules and Jim begins in Paris before World War I and introduces us to two aspiring writers. Jules is a shy, diminutive Austrian (Oskar Werner is all pained charm), a born onlooker who masks his aggressiveness as passivity. He can’t get the girls, but his friend Jim can. A lanky, not-quite-dashing Frenchman (played with melting standoffishness by Henri Serre), Jim is a Left Bank Don Quixote to Jules’s Sancho Panza. When we first meet them, they are living out a genial but somewhat lackluster bohemianism, brimming with talk about writing and women. But for all their love of books, these pals come alive only when they meet the magnificently desirable and dangerous Catherine (Jeanne Moreau). She marries the stolid Jules, who’s too low-key and dull to keep her, and becomes the lover of Jim, who refuses to subject himself to her will.

Although the film is named for the men, its animating force is Catherine, a creature both utterly timeless (Jules and Jim first see her visage in a photo of a Greek statue) and forever changing: at different points, she plays the roles of Charlie Chaplin and street tough, vamp and doting mother. Passionate and iconoclastic, she is, in fact, the only true free spirit among them. Just as the men put their talent into their art, so she puts her genius into living—or perhaps into claiming for herself the reckless male freedoms that women have been traditionally denied. Time and again, she literally dresses herself in the garb of masculinity.

On paper, the mercurial Catherine seems an implausibly grandiose con­ception, a woman both giddy and tragic, protofeminist and male-dominated, driven by Eros and Thanatos. But as played by Moreau, a pop-eyed siren with the ferocity of Bette Davis and the kitty-cat wiles of Tuesday Weld, Catherine becomes one of the modern movies’ triumphant characterizations—the anima as autocrat. Whether playing with vitriol or jumping into the Seine, she elevates capriciousness to an existential principle. When Jim says he understands her, she replies, “I don’t want to be understood.” And this is absolutely true. The movie lives in the shuddering distance between Catherine’s imperious, doomed physicality and the two men’s shifting perceptions of her, perceptions that rearrange but never destroy their glowing friendship.

Jean-Paul Sartre once wrote that the greatest art is about the passing of time. Jules and Jim flies by like a dream, suffused with a sense of life’s evanes­cence. As the characters grow older, and perhaps wiser, we become aware of how much has been lost—loss of love, loss of innocence, loss of the marvelously lamplit bohemian past to the searchlight horror of Nazism. An intimate melan­choly pervades the movie’s voice-over narration, which adores the characters’ brave inquiry into love’s possibilities but is also wryly aware of the relief that accompanies the end of such inquiries. As critic Andrew Sarris once wrote, Jules and Jim celebrates “the sweet pain of the impossible and the magnificent failure of an ideal.”

From the beginning, the film itself was treated as a magnificent success, with Truffaut winning praise from such personal heroes as Jean Cocteau and Jean Renoir; he even received a gushing letter from the seventy-five-year-old Helen Hessel, the real-life, Seine-jumping model for Catherine, who told him he’d captured “the essence of our intimate emotions.” Such accolades, however, didn’t keep France’s Commission de contrôle des films from forbidding viewers under the age of eighteen from seeing Jules and Jim because of its “immoral character”—a decision that would be replicated in many other countries. From our present-day vantage point, when nudie sex scenes are de rigueur on cable TV, such a decision may seem incredible. But this was 1962, and while the New Wave may have been reinventing cinema, French censors weren’t ready to reinvent bourgeois morality.

Perhaps a bit naively for a Young Turk, Truffaut was shocked by the ban, but he clutched at the nearest straw. The president of the commission, Henry de Ségogne, told him that the board might reconsider if he could gather a series of laudatory statements from luminaries. Truffaut set about doing just that, writing to Cocteau, Renoir, and Alain Resnais requesting their support. Still, despite this illustrious backing, the commission refused to reverse its original decision, condemning itself to a tiny corner in the Pantheon of the Square, while this supposedly immoral movie would one day be shown in high school classes.

Truffaut was not yet thirty when he made this tale of triangular desire, and decades later it’s still astonishing that one so youthful could be so open­hearted, so willing to give everyone’s motives and passions their due. But if Jules and Jim casts a mature eye on the limits of freedom (by the end, everything seems uncannily, but satisfyingly, preordained), it remains indelibly a young man’s movie. It’s a lyrical joyride propelled by leaping, elliptical edits, Georges Delerue’s sublimely evocative score (one of the most memorable in film his­tory), and Raoul Coutard’s ecstatic photography, which helps underscore Truffaut’s visual ideas about the great circle of life. At one point, Coutard’s camera follows a young woman in a bar, does a 360 degree pan, and winds up watching Jules draw another girl’s face on the surface of a round table.

Almost every scene is shot through with such casual stylistic brilliance. Yet what audiences have always loved about this movie isn’t simply its technical brio but its emotional warmth, its embrace of a world in which tragedy is forever playing hopscotch with farce. Jules and Jim is a movie that enters viewers’ lives like a lover—a masterpiece you can really get a crush on.

~Criterion

Jules.and.Jim.1962.1080p.BluRay.FLAC1.0.x264-RO.mkv

General
Container:  	Matroska
Runtime: 	1 h 46 min
Size: 	17.3 GiB
Video
Codec: 	x264
Resolution: 	1920x804 
Aspect ratio:  	2.40:1
Frame rate: 	23.976 fps
Bit rate: 	22.5 Mb/s
BPP: 	0.608
Audio
#1:  	French 1.0ch FLAC @ 269 kb/s (BFI Bluray)
#2:  	French 1.0ch FLAC @ 300 kb/s (BIM Distribuzione DVD)
#3:  	English 1.0ch AAC LC @ 64.5 kb/s (Commentary #1 by coscreenwriter Jean Gruault, longtime Truffaut collaborator Suzanne Schiffman, editor Claudine Bouche, and film scholar Annette Insdorf)
#4:  	French 2.0ch AAC LC @ 72.0 kb/s (Commentary #2 by actress Jeanne Moreau and Truffaut biographer Serge Toubiana)
#5:  	French 2.0ch AAC LC @ 73.7 kb/s (Commentary #3 John Player Lecture Francois Truffaut the director discusses his films)
#6:  	English 2.0ch AAC LC @ 74.2 kb/s (Commentary #4 actress Jeanne Moreau talks with Don Allen about her life and career)

https://nitro.download/view/263D3BC03749860/Jules.and.Jim.1962.1080p.BluRay.FLAC1.0.x264-RO.mkv

Language(s):French
Subtitles:English, Danish, Dutch, Greek, Hungarian, Italian, Portuguese, Spanish, Swedish, Romanian, Chinese, Turkish

The post François Truffaut – Jules et Jim AKA Jules and Jim (1962) (HD) first appeared on Cinema of the World.

Halifax, 1863. A young woman, Miss Lewly, comes to Halifax to search for Lt Pinson, with whom she is madly in love. Actually, she is Adèle Hugo, the second daughter of the great French literary figure and statesman. The Lt Pinson does not answer to her love and makes her understand it is hopeless. But as her obsession grows she keeps chasing and harassing him. This film about passionate yet obsessive love and self-destruction is based upon the real diary of Adèle Hugo.

The.Story.of.Adele.H.1975.BDRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 37 min
Size: 	2.33 GiB
Video
Codec: 	x264
Resolution: 	962x576 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.226
Audio
#1:  	Multiple languages 2.0ch AC-3 @ 224 kb/s (Main Audio | French | English)
#2:  	English 2.0ch AC-3 @ 192 kb/s (Commentary with film historians Julie Kirgo & Nick Redman)

https://nitro.download/view/47B8E2AE63B0727/The.Story.of.Adele.H.1975.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):English, French
Subtitles:English for French

The post François Truffaut – L’histoire d’Adèle H. AKA The Story of Adele H. (1975) first appeared on Cinema of the World.

In a French forest in 1798, a child is found who cannot walk, speak, read or write. A doctor becomes interested in the child and patiently attempts to civilize him.

Quote:
“The Wild Child” is based on the true story of the Wild Boy of Aveyron, a feral 12-year-old who was found wandering naked in the forests near Toulouse in 1798. Scarred, savage, and unable to speak, he was taken to the National Institute for the Deaf and Dumb in Paris, where he came under the personal care of a young doctor named Jean Itard. Brimming with Enlightenment ideals, the latter saw a chance to test his theory that morality and language are what separate man from beast, and that these are learned. Given an animal, he would educate a human.

Itard is played by the filmmaker himself as a gentle and caring intellectual, moved to compassion by the boy’s atavistic state yet roused by the challenge he presents. Itard names the boy Victor and treats him with firm kindness; an older woman named Madame Guerin (Francoise Seigner) provides housekeeping and maternal warmth. In the role of Victor, Truffaut casts Jean-Pierre Cargol, a dark, distant boy who doesn’t act in the film so much as consent to be included in its gaze.

As so often in his career, Truffaut is both fascinated and moved by the sight of a young person trying to make sense of the world. Unlike “The 400 Blows,” his breakthrough study of an alienated boy, though, the world wants to make sense of Victor as well. Itard patiently teaches the boy the alphabet, associates words with objects, and waits for a bolt of comprehension that stubbornly refuses to come. A Hollywood movie would build to the climactic reveal – Helen Keller moaning “wa-ter” by the pump – but Truffaut is interested in an emotional journey, which isn’t the same as a sentimental one. Victor, for all his progress, remains an enigma. It’s the doctor’s education, and ours, that’s the story.

Nearly four decades after its release, “The Wild Child” remains startling for its humane clarity, for Nestor Almendros’s brilliant black-and-white photography, and for the sense that Truffaut is achieving filmmaking mastery on a very small scale. The movie’s first image is right out of D.W. Griffith – an iris out on a peasant woman digging mushrooms in a wood – and the lushly overwhelming forest exteriors evoke painter Henri Rousseau. There’s Breugel, too, in the Paris crowds the Wild Boy attracts. At times the movie seems to be filtering the history of Western civilization through the figures of a man and a boy trying to speak to each other.

Because Truffaut was an optimist, the movie ends with the high point of Victor’s progress and suggests he’ll go on from there. In fact, Itard soon gave up trying to teach the boy to read and write, satisfied that he had shown the moral judgment and sympathy for others to prove the larger point. Some modern commentators have read the doctor’s notes and concluded that Victor was likely autistic. He died in 1828, still living with Madame Guerin. Itard’s teaching survives as one of the bases of the Montessori method. Victor’s story survives in this slight yet terribly moving film.

1.92GB | 1h 25m | 960×576 | mkv

https://nitro.download/view/3DD40ADAD0F8342/The.Wild.Child.1970.BDRIP.576p.x264.AC3.KJNU.mkv
or
https://fikper.com/yI8kOY2BJ2/The.Wild.Child.1970.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):French
Subtitles:English

The post François Truffaut – L’enfant sauvage AKA The Wild Child (1970) first appeared on Cinema of the World.

Synopsis:
A French little town, at the end of the twenties. Julien Davenne is a journalist whose wife Julie died a decade ago. He gathered in the green room all Julie’s objects. When a fire destroys the room, he renovates a little chapel and devotes it to Julie and his other dead persons.

2.14GB | 1h 35mn | 960×576 | mkv

https://nitro.download/view/2AE5EBD4CA7ABC4/The.Green.Room.1978.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):French
Subtitles:English

The post François Truffaut – La chambre verte AKA The Green Room (1978) first appeared on Cinema of the World.

Quote:
In 1863 Adèle Hugo, the younger daughter of the great French poet and patriot, Victor Hugo, ran away from home on the Isle of Guernsey where her father was living in exile to follow a young English officer, a Lieutenant Pinson, to his new post in Halifax, Nova Scotia. Lieutenant Pinson was probably not a bad sort, not worse than most, but he wasn’t very serious.

It’s thought that the young, inexperienced Adèle had most likely been Lieutenant Pinson’s mistress for a short time on Gurnsey, and it’s known that she wanted desperately to marry him, though her father disapproved. In any case, Lieutenant Pinson was not interested — a circumstance that Adèle was ill-equipped to understand or ever to support.

“The Story of Adèle H.,” François Truffaut’s profoundly beautiful new film, is about Adèle’s journey, taken with measured steps, into a magnificent, isolating obsession, first to frozen Halifax and then, when Lieutenant Pinson is transferred to the West Indies, to Barbados, where Adèle sweeps through the tropical streets and alleys of Bridegtown talking to herself, wearing a heavy black cloak, and looking like some mad, benign witch of the north.

Unable to cope with the truth, and using her imagination and her feelings as carefully as someone writing a piece of fiction, Adèle created another world where she became Lieutenant Pinson’s wife, where love was her religion (and no humiliation too great a sacrifice), and where she kept a coded journal, only recently deciphered. It is this journal that is the basis for Mr. Truffaut’s most severe, most romantic meditation upon love.

“The Story of Adèle H.” was shown last night at Avery Fisher Hall to close the 13th New York Film Festival, which, despite one spectacular disappointment and several others of a lesser order, has been one of the best festivals in recent years. Without question the Truffaut entry was the surprising highlight, even to one who has admired the French director’s films over the years.

One of the fascinations of the Truffaut career is in watching the way he circles and explores different aspects of the same subjects that dominate almost all of his films. However, “The Story of Adèle H.,” impeccably photographed by Nestor Almendros (“The Wild Child”), looks and sounds like no other Truffaut film you’ve ever seen.

The colors are deep, rich and often dark, and the soundtrack is full of the noises that one associates with old costume films produced by M-G-M in its great days—carriages riding over cobblestones, pens scratching across vellum, servants arriving and departing with important messages, bells that tinkle over the doors of bookshops. More important, there is the fine background score by the late Maurice Jaubert (he died in 1940), who composed for Vigo and Clair among others. The film has the manner of a romance but it’s a romance from which all the conventional concerns have been eliminated.

In the single-minded way in which the movie sticks to its subject, “The Story of Adèle H.” reminds one of “The Wild Child.” It’s virtually a one-character film. It contemplates the classic beauty of Adèle, played with extraordinary grace by 20-year-old Isabelle Adjani of the Comédie Française, much as Catherine Deneuve was admired by the camera in “Mississippi Mermaid,” and it appreciates the particularity of women in a fashion that recalls the erratic journey of Catherine to the crematorium in “Jules and Jim.”

“The Story of Adèle H.” is not a psychiatric case history, though all the facts seem to be there if one wants to accept it as such. Rather it’s a poet’s appreciation of the terrifying depth of Adèle’s feelings, which, early on, drive her to lying to her family, to making life miserable for Lieutenant Pinson in Halifax (including canceling his engagement to someone else), to spying on him, happily, as he makes love to another woman. She’s willful and spoiled and, the film understands, impossible to deal with. Yet the film makes us see both the madness and the grandeur of the passion.

It’s this ability to allow us to see a subject from several different angles simultaneously that often proves most unsettling in a Truffaut film. Toughness and compassion get all mixed up. It’s also this talent that separates his films from those of all other directors who are working in the humanist tradition today. “The Story of Adèle H.” is a film that I suspect Jean Renoir would much admire. He understands such things.

2.62GB | 1h 37mn | 960×576 | mkv

https://nitroflare.com/view/06D0A2D986A8E0A/Francois_Truffaut_-_(1975)_The_Story_of_Adele_H.part1.rar
https://nitroflare.com/view/69EF3D1E8158342/Francois_Truffaut_-_(1975)_The_Story_of_Adele_H.part2.rar
https://nitroflare.com/view/C73204762808A82/Francois_Truffaut_-_(1975)_The_Story_of_Adele_H.part3.rar

Language:French, English+commentary
Subtitles:English (hardcoded) for French, English (soft) for English

The post François Truffaut – L’histoire d’Adèle H. AKA The Story of Adele H. (1975) first appeared on Cinema of the World.