The Au Pairs "Come Again"
The Bloods "Button Up" (audio only)
Roughly occurring at the same time as the more well-known and more celebrated French Nouvelle Vague (or New Wave), another group of frequently collaborative film-makers were grouped together under the moniker "Rive Gauche," named after Paris' artsy side. These film-makers (Agnès Varda, Chris Marker, Jean Cayrol, Henri Colpi, Marguerite Duras, Alain Robbe-Grillet,) applied to film the concepts which defined the Nouveau Romain in contemporaneous literature. Duras and Robbe-Grillet were also writers and associated with the literary movement in which experimental authors sought to create a new style with each work. Together, they produced an amazing body of film which remains largely overshadowed by the much more popular New Wave, though no less interesting or significant.
Because of the film-makers' approach to art and their being French, as well as contemporaries of the New Wave, they're often lumped in with them even though the New Wave, while radically experimental, was more stylistically consistent due its focus on the director as the film's author. Ironically, the New Wave view served to encourage the personal and recognizable authorial nature of film, whereas members of the Rive Gauche often sought to depersonalize their works in an attempt to defy expectations, placing them in polar opposition in this regard.
Alain Resnais began making films in the 1940s. He is best known for his films Nuit Et Brouiilard (1955), Hiroshima Mon Amour (1959) and L'Anee Derniere a Marienbad (1961).
Nuit Et Brouillard stands alone in cinematic history in its depiction of the Jewish Holocaust. Resnais avoided the familiar black and white stock-footage for most of the film and instead presented tranquil scenes of the by-then abandoned concentration camps in color, with flowers growing through the cracks and sun beams shining on the desolate remains. Compare, for example, Nuit Et Brouiilard to a cinematically conservative film like Schindler's List. Spielberg chose to film in black and white (both literally and morally), with big name actors and with action unfolding in a familiarly un-ending winter that makes the events seem cliche and safely remote.