Nouvelle Vague
Rather than trying to recreate Godard’s anarchic style, Richard Linklater offers something more compelling in Nouvelle Vague: a film that captures the spirit, not just the surface, of a cinematic revolution. Shot in striking monochrome by David Chambille – with grain that seems lifted straight from Raoul Coutard’s reels – it evokes the feverish atmosphere of 1959 Paris with meticulous care. Yet, unlike many biopics that double as history lessons, this is cinema about cinema and it embraces its own artifice with pride.
Guillaume Marbeck, a newcomer whose eyes are almost always hidden behind Godard’s signature sunglasses, is a revelation. His portrayal renders the filmmaker insular, difficult and – perhaps most surprisingly – frequently wrong. Surrounding him are the other icons of the movement, appearing not as larger-than-life legends but as idealistic young artists. Even Roberto Rossellini (Laurent Mothe) passes through the frame, more ghost of cinema past than venerated elder. Linklater avoids treating these figures with reverence; they are not mythic but messy, uncertain and searching.
Amid the intellectual ambition, there’s also humour. A script is rewritten over espresso. Continuity is gleefully discarded. Jean Seberg (Zoey Deutch) delivers dry, sardonic lines in American-accented French, complaining about the lack of sync sound. Producer Georges de Beauregard (Bruno Dreyfürst), affectionately called Beau Beau, warns Godard that paying audiences still expect a coherent story. And while Linklater may share Godard’s scepticism about narrative convention, he’s generous enough to give space to differing views. Those who challenge Godard’s ideas are portrayed not as fools but as thoughtful counterpoints.
The film’s brisk 105-minute runtime mirrors the quick-fire production of Breathless, which was famously shot in just twenty-three days. This tight structure becomes a strength, allowing it to maintain the same restless, improvisational energy it seeks to depict. The irony, of course, is that Linklater’s picture – carefully storyboarded and deeply researched – may feel more finely crafted than the chaotic masterpiece it honours.
Yet Nouvelle Vague finds its voice not in imitation but in reflection. Rather than deify Godard, the director resists myth-making. He allows Seberg, the crew, other key figures of the movement – even the city itself – to share the spotlight. Instead of canonising Breathless, the film quietly demystifies it, offering a more intimate view of its creation. What emerges is a tender but clear-eyed portrait of moviemaking – not as the work of solitary geniuses but as a collaborative act of inspired young talents making it up as they go.
Christina Yang
Nouvelle Vague does not have a release date yet.
Read more reviews from our Cannes Film Festival coverage here.
For further information about the event visit the Cannes Film Festival website here.
Facebook
Twitter
Instagram
YouTube
RSS