Early on in Francois Truffaut's third film, the titular deux amis fall for a statue that is soon embodied by intellectual sexpot Jean Morreau. It's fitting that the fictional characters are so enamored by art, and that art influences their lives, since Truffaut's Nouvelle Vague standard has been mimicked, referenced, and quoted by just about every weepy Francophile pondering croissants and the cobblestoned streets of the Left Bank.