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In an interview for a sub-site of the film criticism website The House Next Door in 2006, Shambu named Pauline Kael's review of Brian De Palma's Dressed to Kill, James Monaco's book on the French New Wave (which he read several times before he had ever seen a French film), J. Hoberman's Vulgar Modernism and the website of cinephile Acquarello as having had a formative influence on his interest in film.
A version of Nim is played—and has symbolic importance—in the French New Wave film Last Year at Marienbad (1961).
In the famous book Hitchcock/Truffaut, Alfred Hitchcock tells to French New Wave filmmaker François Truffaut that he once intended to make a film about this case, but later on he dropped the idea because Truffaut's film Jules and Jim also dealt with—according to his vision—a ménage à trois.
Deeply influenced by Gervais, Wertheimer gave particular focus to French New Wave Cinema and the impact of Jean-Luc Godard, François Truffaut and others is still readily apparent in his work.
Writing and directing the films in collaboration, they first made the children's film Thomas er fredløs from 1967 and then experienced a breakthrough with The Ballad of Carl-Henning, inspired by the French New Wave and won the Danish Film Critics Award for Best Danish Film on 1969.
The film depicts the friendship between French directors François Truffaut and Jean-Luc Godard, the two shining figures of the French New Wave movement in the late '50s and early '60s.
According to Adam Gopnik in his New Yorker piece, the Fooding is to cuisine what the French New Wave was to French Cinema.
The French New Wave filmmaker Jean-Luc Godard has stated that de Stael is his favorite painter, and the use of primary colors in his film Pierrot Le Fou was strongly influenced by de Stael's work.