The French New Wave , or Nouvelle Vague , is a film movement that began in France in the late 1950s and continued into the late 1960s. It was a reaction against the traditional, studio-bound films that were popular at the time. New Wave filmmakers wanted to make films that were more personal, realistic, and experimental. They often used handheld cameras, natural lighting, and jump cuts to create a more immediate and spontaneous feel. Their films often dealt with themes of alienation, rebellion, and the search for meaning in modern life.

Throughout the decades, there have been many film movements that changed what cinema is and how it's done. Some of these movements revolutionized storytelling, others pushed the boundaries of visual style, and some influenced both fields. Examples of preceding movements include German Expressionism (1910s-1930s), Classical Hollywood (1910s-1920s), Soviet Montage (1920s), and especially Italian Neorealism (1940s), which revolutionized Italian cinema following World War II and shares various elements with the French New Wave. These movements demonstrated the power of cinema to express a wide range of emotions, ideas, and social realities, and inspired authors to not follow a single set of arbitrary rules.

The French New Wave originated in the late 1950s, which was a time of social and cultural change in France. During the aftermath of World War II, a new generation was coming of age, one that was eager to challenge traditional values and embrace new ideas. This was influenced by the French economic boom known as the " Trente Glorieuses ." This period of growth led to increased consumerism and a more modern, urban lifestyle, which is often depicted in New Wave films. At the same time, there were anxieties about the Algerian War and political uncertainties, which sometimes found their way into the films' themes.

Culturally, the French New Wave was influenced by various factors, including the rise of existentialist philosophy, the popularity of American culture (especially Jazz and Classical Hollywood films), and the resurgence of interest in literature.

The French New Wave originated from young people's growing dissatisfaction with the state of French cinema in the 1950s. Many critics and young cinephiles felt that the films being produced were stale and out of touch with modern life. Movies used to be credited to the featured actors rather than the director. They criticized the so-called "Tradition of Quality" films for their reliance on literary adaptations and their conventional storytelling.

A new generation of filmmakers, largely comprised of critics from Cahiers du cinéma, sought to revolutionize French cinema by rejecting the established "Tradition of Quality." They believed in the idea of the director as an "auteur," possessing a unique personal vision and style.  This philosophy led them to embrace innovative storytelling techniques and production methods, notably influenced by earlier movements like Italian Neorealism.

Key figures in this movement included François Truffaut, Jean-Luc Godard, Éric Rohmer, Jacques Rivette, Claude Chabrol, and Jacques Doniol-Valcroze, all of whom began directing their first feature films around 1958-1959. Along with others like Agnès Varda, Jacques Demy, and Alain Resnais, they aimed to introduce major renovation in French cinema, challenging conventions and redefining the role of the director.

The New Wave filmmakers often worked with low budgets and limited resources, shooting on location and employing handheld cameras. This approach gave their films a sense of immediacy and realism. They also experimented with narrative structure, editing techniques, and visual style, breaking away from the traditional linear narratives of classical cinema.

The term "New Wave" ( nouvelle vague ) was initially used to describe the broader social and cultural changes in post-war France. However, by 1959, the term became closely associated with the film movement, thanks in part to the attention garnered by films like Truffaut's The 400 Blows and Alain Resnais' Hiroshima mon amour .

The movement quickly became successful, with many young directors making their debuts between 1958 and 1964. This surge of new talent was influenced by the critical discourse surrounding the state of French cinema, the accessibility of new filmmaking technologies, and the emergence of young producers willing to take risks on unconventional projects.

The French New Wave is considered one of the most influential film movements. It helped change the direction the French film industry, and introduced new talents, cultural icons, and new ways of making films. It also influenced filmmakers around the world, inspiring them to experiment with storytelling and challenge cinematic conventions. The New Wave's focus on personal expression and stylistic experimentation influenced international filmmaking in the years that followed.

The movement helped establish the idea of the director as the most important creative force in filmmaking. New Wave filmmakers and critics promoted the idea of the "auteur," which changed how people saw the role of the director in film.

French New Wave is the origin of the term "New Wave", coined in the United Kingdom 1977. This label was broadly applied to musical movements ( New Wave ) that broke with the anarchism of Punk , and on the other hand, with the progressive or psychedelic rock of the 1970s. The term has also been applied to some art movements. New Hollywood is sometimes referred to as "American New Wave."

French New Wave films employed innovative visual techniques, born from budgetary constraints. The use of long tracking shots, such as the traffic jam sequence in Godard's Weekend (1967), was a notable feature. Due to limited resources, directors like Godard improvised with equipment, sometimes resorting to using shopping carts for tracking shots. Jump cuts were another defining visual characteristic of the New Wave, used to shorten films. Godard's Breathless (1960) exemplifies this technique, where scenes filmed in one long take were abruptly edited by removing portions of the take. This element continues to influence modern video-making.

The New Wave aesthetic also included rapid changes of scene, breaking the 180° axis of camera movement, unconventional framing, and sometimes, breaking the fourth wall to remind the audience that they are watching the work of a person. These techniques pretty much challenged traditional cinematic storytelling and the expectations of the audience. Godard used those methods to disrupt the viewer's passive experience and encourage a more active experience with the film.

In contrast to classic French cinema, New Wave films often drew attention to their own construction. They did not aim to suspend the viewer's disbelief but rather acknowledged the film as a sequence of moving images. This self-reflexivity could manifest in disjointed scenes, inconsistent characters, or the inclusion of onlookers and extras within the frame.

The New Wave's visual style was influenced by Italian Neorealism and the economic realities of post-war France. Low-budget production methods necessitated resourcefulness and led to stylistic innovations. The films frequently featured location shooting, natural lighting, handheld camerawork, and non-professional actors.

The French New Wave emerged from a desire to break free from the "stagnation" of French cinema in the 1950s. Film critics and filmmakers felt that the industry was trapped in a cycle of uninspired literary adaptations and historical reconstructions, detached from contemporary life.  This caused a cinematic renewal that reflected the energy and anxieties of the new generation.

The New Wave filmmakers sought to challenge the established conventions of filmmaking, both aesthetically and thematically. They rejected the traditional emphasis on polished narratives and elaborate studio productions. They preferred a more spontaneous and realistic approach. This involved shooting on location, using natural lighting and handheld cameras, and working with smaller crews and budgets.

Thematically, New Wave films frequently experimented with searching for meaning in modern life, focusing on the experiences of youth, alienation, and existentialism. Characters dealt with questions of identity, purpose, and the absurdity of human existence. The films incorporated elements of irony, sarcasm, and self-reflexivity, acknowledging their own status as constructed narratives.

New Wave filmmakers also derised to break free from the constraints of tradition. They embraced improvisation and experimentation. This extended to the rejection of traditional acting styles, as they preferred a more natural and authentic approach.

One of the most important and influential parts of the movement was the importance of individual expression and the filmmaker's role as an auteur (author). Movie credits often emphasized the studio and actors at the time, rather than the person who came up with the idea behind the project. Directors like Truffaut, Godard, and Chabrol sought to create films that reflected their personal visions. They believed that films should have an aesthetic that immediately makes the author recognizable.