路易·马勒发轫于新浪潮运动,不久便与之脱离。此后,一系列成功程度不同、但往往十分敏感并招致麻烦的影片,充分表现了他思想的独立和技艺的精湛。在很长时间里,涉及第二次世界大战和德国占领时期的影片,只是一种用来消除与德军合作耻辱的自觉或不自觉的手段。从《夜间守门人》(Des Portes de lanuit,1946)到《最后一班地铁》(Dernier Métro,1980), Louis Mahler hair in the new wave of movement, soon detached from it. Since then, a series of videos of varying degrees of success, often sensitive and troublesome, has fully demonstrated the independence of his ideas and the skill of craftsmanship. For a long time, films involving the Second World War and the German occupation were merely conscious or unconscious means to eliminate the humiliation of cooperation with the Germans. From “Des Portes de lanuit” (1946) to “Dernier Métro” (1980)