The dichotomy of French actors in the talkie era was defined in the '30s by Jean Gabin and Michel Simon: the minimal and the maximal, Apollonian and the Dionysian. In the Romantic crest of the New Wave, many took up Simon's Dionysian mode—Jean-Pierre Léaud, Jean-Paul Belmondo—but none embodied the Apollonian tradition so perfectly as the huddled, secretive Jean-Louis Trintignant, subject of a 19-film retrospective at Film Forum, which precedes its run of... More >>>