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(Fans of The Matrix might notice where they borrowed their liquid-mirror idea from. ) Cocteau's work also gave a chance to a new generation in the shape of Jean-Pierre Melville, who was hired to direct an adaptation of Les Enfants Terribles (1950). Perhaps not coincidentally, a new generation of politically radical film critics were growing up, mentored by André Bazin at Cahiers du Cinema. Their work fed directly into the explosive success of the French New Wave in the late 1950s: critics such as François Truffaut, Jean-Luc Godard and Claude Chabrol transferred their ideas directly to the screen. Truffaut's The 400 Blows (1959) and Godard's Breathless (1960) were the vanguard, but the New Wave triggered a decade and a half of brilliance, with a profusion of brilliant film-makers associated with the movement – Alain Resnais, Agnès Varda, Jacques Demy, Louis Malle, Eric Rohmer. Meanwhile Melville, who had prospered in the New Wave era, completed a trilogy of masterworks at the end of the decade: Le Samourai (1968), Army in the Shadows (1969), and Le Cercle Rouge (1970).