The 400 Blows (French: "Les Quatre Cents Coups" ) is a 1959 French drama film, the debut by director François Truffaut; it stars Jean-Pierre Léaud, Albert Rémy, and Claire Maurier.
 One of the defining films of the French New Wave, it displays many of the characteristic traits of the movement.
 Written by Truffaut and Marcel Moussy, the film is about Antoine Doinel, a misunderstood adolescent in Paris who struggles with his parents and teachers due to his rebellious behavior.
 Filmed on location in Paris and Honfleur, it is the first in a series of five films in which Léaud plays the semi-autobiographical character.
The Cinema of Portugal started with the birth of the medium in the late 19th century.
 Cinema was introduced in Portugal in 1896 with the screening of foreign films and the first Portuguese film was "Saída do Pessoal Operário da Fábrica Confiança", made in the same year.
 The first movie theater opened in 1904 and the first scripted Portuguese film was "O Rapto de Uma Actriz" (1907).
 The first all-talking sound film, "A Severa", was made in 1931.
 Starting in 1933, with "A Canção de Lisboa", the Golden Age would last the next two decades, with films such as "O Pátio das Cantigas" (1942) and "A Menina da Rádio" (1944). "
Aniki-Bóbó" (1942), Manoel de Oliveira's first feature film, marked a milestone, with a realist style predating Italian neorealism by a few years.
 In the 1950s the industry stagnated.
 The early 1960s saw the birth of the "Cinema Novo" (literally "New Cinema") movement, showing realism in film, in the vein of Italian neorealism and the French New Wave, with films like "Dom Roberto" (1962) and "Os Verdes Anos" (1963).
 The movement became particularly relevant after the Carnation Revolution of 1974.
 In 1989, João César Monteiro's "Recordações da Casa Amarela" won the Silver Lion at the Venice Film Festival and in 2009, João Salaviza's "Arena" won the Short Film Palme d'Or at the Cannes Film Festival.
 Several other Portuguese films have been in competition for major film awards like the Palme d'Or and the Golden Bear. "
João Sete Sete" (2006) was the first Portuguese animated feature film.
 Portuguese cinema is significantly supported by the State, with the government's Instituto do Cinema e do Audiovisual giving films financial support.
Jacques Rozier (] ; born 1926 in Paris) is a French film director and screenwriter.
 He is one of the lesser known members of the French New Wave movement and has collaborated with Jean-Luc Godard.
 Three of his films have been screened at the Cannes Film Festival.
 In 1978, he was a member of the jury at the 28th Berlin International Film Festival.
Weekend (French: Week-end ) is a 1967 black comedy film written and directed by Jean-Luc Godard and starring Mireille Darc and Jean Yanne, both of whom were mainstream French TV stars.
 Jean-Pierre Léaud, iconic comic star of numerous French New Wave films including Truffaut's "Les Quatre Cent Coups" ("The Four Hundred Blows") and Godard's earlier "Masculin, féminin", also appears in two roles.
 Raoul Coutard served as cinematographer; "Weekend" would be his last collaboration with Godard for over a decade.
Ozploitation (a portmanteau of "Australia" and "exploitation") films are exploitation films – a category of low-budget horror, comedy, and action films – made in Australia after the introduction of the R rating in 1971.
 The year also marked the beginnings of the Australian New Wave movement, and the Ozploitation style peaked within the same time frame (early 1970s to late 1980s).
 Ozploitation is often considered a smaller wave within the New Wave, "a time when break-neck-action, schlock-horror, ocker comedy and frisky sex romps joined a uniquely antipodean wave in exploitation cinema".
Toni is a 1935 French drama film directed by Jean Renoir and starring Charles Blavette, Celia Montalván and Édouard Delmont.
 It is an early example of the casting of non-professional actors and on-location shooting - both of which would influence the Left Bank of the French New Wave movement.
 Examining the romantic interactions between a group of immigrants (both from abroad and other parts of France) working around a quarry and a farm in Provence, it is also generally considered a major precursor to the Italian neorealist movement.
 Luchino Visconti, one of the founding members of the later film movement, was assistant director on the film.
 It was based out of Marcel Pagnol's studios in Marseille and shot entirely on location in the South of France.
François Roland Truffaut (] ; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic, as well as one of the founders of the French New Wave.
 In a film career lasting over a quarter of a century, he remains an icon of the French film industry, having worked on over 25 films.
 Truffaut's film "The 400 Blows" came to be a defining film of the French New Wave movement.
 Unique in world cinema, the movie is followed over 20 years with classics "Stolen Kisses", "Bed and Board" and "Love on the Run" between 1958 and 1979.
 He also directed such other classics as "Shoot the Piano Player" (1960), "Jules et Jim" (1961), "The Wild Child" (1970), "Two English Girls" (1971), "Day for Night" (1973) and "The Woman Next Door" (1981).
Nouvelle Vague is a French band led by musicians Olivier Libaux and Marc Collin.
 Their name means "new wave" in French, and refers simultaneously to the French New Wave cinema movement of the 1960s, to the new wave music movement of the 1970s and 1980s, which provides many of the songs that the band cover, and to bossa nova (Portuguese for "new wave"), a musical style that the band frequently uses in its arrangements.
Raymond Cauchetier (born January 10, 1920) is a French photographer, known for his work as the set photographer from 1959 to 1968 on many of the seminal films of the French New Wave.
 His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods.
 A 2009 profile of Cauchetier in "Aperture" magazine declared that his photographs "are themselves central works of the New Wave."
Les Mistons ("The Mischief Makers") is a short film directed by François Truffaut in 1957.
 It was his second film after "Une Visite" in 1955 but it is considered his "first short film of any real consequence".
 Truffaut simply called it "my first real film".
 Moreover, it was Bernadette Lafont's film debut.
 She was at that time Gérard Blain's wife.
 The film demonstrates already some examples for Truffaut's "trademark tracking shots" and would "help define his style" as well as "set Truffaut on a path for his career".
 Truffaut's narrative stresses the details of life, hereby establishing one of the traits of the French New Wave.
 Thus he also became a predecessor of French film directors such as Jean-Pierre Jeunet ("Amélie").
 It has been stated that the formation of the French New Wave could be "tracked through two short films": Jean-Luc Godard's "All the Boys Are Called Patrick" and Truffaut's "Les Mistons".
 In 2013 the Museum of Modern Art in New York City screened this film together with Truffaut's "The 400 Blows".

Question: Which film became a defining film of the French New Wave movement and is the first series of five films in which Jean-Pierre Leaud stars? 
Answer: The 400 Blows