In this magnum opus of the Nouvelle Vague, François Truffaut devises magnificent use of narration, dialogue, imagery and editing one of the most literary pieces ever created on film.

Starting with a frenetic rhythm through the buzzing Parisian life, adopting in many scenes the spirit of silent cinema, this approach gets immediately cut, just as the life of our main characters, by the advent of the Great War. After it, once we get submerge into a much more rural and calmed way of life, diverging to that in Paris, the film takes a more reflective and observational approach, taking the audience to reflect along with the characters on their psychological journey.

Precisely, those main characters are all perfectly enacted by their corresponding performers: Oskar Werner and Henri Serre as the inseparable Jules and Jim, respectively, and the fantastic Jeanne Moreau as Catherine. Each one of them precisely conveys the nature of their persona, Werner as caring and sacrificial, Serre as anarchic and impetuous, and Moreau as cheerful but internally tormented.

Although these distinct personalities, the story nicely presents how and why these characters become so close and intimate with each other even if they have different views and understanding on what love is and means. Unfortunately, the patience used all throughout the movie to analyse these relationships gets quite immediately rushed in the end to look for a closure that, even if expected, would have benefit of a bit more time to be reached.

In any case, even if there might be a tiny improvable detail to it, this film is an indispensable watch since it is a clear example that even if a clear experimental approach is taken in its creation that should not be a reason to leave aside the possibility to, at the same time, present and engaging and interesting story.