AT 25, FRANCE'S NEW WAVE STILL SURGES THROUGH MOVIES
G ive or take a few months, this year is the 25th anniversary of the Nouvelle Vague, that New Wave of young French filmmakers who, first by their sometimes outrageous statements and then by the extraordinary films they made to support those statements, forever changed the look of - as well as the way we look at - movies. Their new criticism, the sweeping and, at the time, revolutionary politiques des auteurs, announced that all films, even the most ghastly collaborations, could be seen as the work of a single artistic sensibility, that is, of the director-as-''author.'' Their films, made on limited budgets in the real world outside the walls of the studios, turned poverty into visual assets. They came up with new editing tricks, including the jump-cut that functions as cinema shorthand. They rediscovered others - such as the ''iris,'' by which a portion of an image can be isolated on an otherwise black screen - that had been abandoned as old-fashioned with the arrival of the talkies. It was almost as if films were being reinvented.