Made to inspire young artists to break the rules, the fizzy ‘Nouvelle Vague’ shows how it’s done

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Truly original ideas are intense but fleeting. They grab attention, then fade back into the vast history of human storytelling – a history that began as soon as people started sharing experiences. Filmmaker Richard Linklater experienced this with his 1991 film, “Slacker,” which launched him into the independent film scene at Sundance. This movement was fueled by the energy of the New Hollywood filmmakers of the 60s and 70s, who themselves were inspired by the French New Wave directors like Jean-Luc Godard and François Truffaut. Each of these creative periods built upon the last, inspiring the next generation of artists.

Early in his career, director Richard Linklater admired the work of Jean-Luc Godard. It’s likely that Linklater’s own groundbreaking film, “Slacker,” wouldn’t have been possible without seeing Godard’s similarly unconventional film, “Breathless,” which was filmed on location in Paris with limited resources. Now a successful filmmaker himself, Linklater is paying tribute to his influences with “Nouvelle Vague,” a dynamic portrayal of Godard’s creation of “Breathless” – a film made with little money but a lot of confidence. The movie serves as both an origin story for Godard and, in some ways, for Linklater himself. Ultimately, it’s Linklater’s way of inspiring a new generation of filmmakers – and he’s eagerly anticipating their arrival.

The film begins, fittingly, at a movie screening. Jean-Luc Godard and his colleagues from the “Cahiers du Cinema” magazine—including future directors François Truffaut and Claude Chabrol, and critic Suzanne Schiffman (played by Adrien Rouyard, Antoine Besson, and Jodie Ruth-Forest respectively)—are making witty remarks, smoking constantly, and enjoying complimentary drinks. From the very start, the film immerses you in a sharp, fast-paced world and challenges you to follow along. When Schiffman jokingly dismisses a film as not being “Citizen Kane,” it highlights the fact that this group was instrumental in recognizing “Kane” as a classic.

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Director Richard Linklater knew exactly who he wanted for “Nouvelle Vague,” his film inspired by the making of “Breathless.” Actress Zoey Deutch fully transformed herself for the role, going beyond just changing her appearance.

I have to say, the script by Holly Gent and Vincent Palmo Jr. really nails the shifting power dynamics here. It’s fascinating to watch this group of cool kids—the ones who usually do the judging—suddenly find themselves in the spotlight. The tables are turning, and the party’s energy is completely changing. You’ve got these actresses fawning over the film nerds, which is a fun twist. But the real heart of it all is Godard, who’s painfully aware he’s the only one who hasn’t made a movie yet. He’s only 28, but he’s already convinced his moment has passed, lamenting that ‘Missed the wave’ will be written on his tombstone. It’s a surprisingly poignant detail that really resonated with me.

True to his rebellious image, the character steals some money and drives to the Cannes Film Festival to see Truffaut’s “The 400 Blows.” A striking black and white scene, reminiscent of “Breathless,” shows the film’s famous beach ending mirrored in the dark sunglasses the character constantly wears. Those glasses hide his jealousy and are paired with a cool, almost arrogant, smile. The actor playing Marbeck is brilliant in the part, but it’s a pity I likely won’t recognize him later.

Filming in French with subtitles, director Linklater introduces characters at a dizzying speed, filling the screen with faces so quickly you’ll struggle to keep track. The film features brief appearances by legendary filmmakers like Agnes Varda, Roberto Rossellini, Jean Cocteau, Jean-Pierre Melville, and Robert Bresson. Once the production of “Breathless” begins – filmed in just 20 days on a remarkably low budget of $90,000 (a fraction of typical French films then, yet still more than “Slacker” decades later) – the parade of names continues. We meet key crew members like the stressed assistant director Pierre Rissient and the skilled cameraman Raoul Coutard, a veteran of the French Indochina war. We also see the frustrated script supervisor Suzon Faye and makeup artist Phuong Maittret, who dreams of working with the more reliable Bresson. Right up until the end, Linklater keeps introducing people – including editors Cécile Decugis and Lila Herman – who were instrumental in giving “Breathless” its famously fast rhythm.

Jean-Paul Belmondo, the star of “Breathless,” immediately commands attention, playfully ‘sparring’ with the camera as if vying for the spotlight. Thankfully, he gets enough screen time to show that it was his natural charm, even more than his acting, that made the film so vibrant. Belmondo’s character effortlessly wins the affection of Jean Seberg (Zoey Deutch), but Seberg isn’t impressed with director Godard. The independent American actress, playing Belmondo’s casual love interest, believes Godard’s filmmaking is a mess and enjoys playfully challenging him. In a lighthearted moment, she asks him, with her distinctive Iowa-French accent, if he’s inventing his directing style as he goes. Deutch brilliantly portrays Seberg’s complex personality and, crucially, captures the unique quality of her voice—a captivating blend of musicality, hesitation, and precision, reminiscent of a child’s doll.

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When you stop feeling like you need to know everything about these filmmakers, Linklater’s fast-paced approach actually builds excitement. It’s like Paris is experiencing a creative energy similar to what New York City had in the 1970s or Hollywood in the 1910s – and what Hollywood should feel like today. The film doesn’t try to portray each artist as a perfect visionary. Instead, by showing them all together, they become more human. We see Varda as a young, carefree artist and Rossellini as someone struggling to make ends meet – making them feel like ordinary people with achievable dreams.

Watching footage of Godard and Truffaut working on “Breathless” in the Paris metro, it’s striking how unremarkable they look. It makes you think of all the other talented people who never get their chance. The documentary doesn’t glorify their early struggles – it shows the hard work and chaos they faced. But it’s touching to see them as collaborators, before their public disagreements about the future of the French New Wave.

Calling this a true life story feels like a stretch. The movie focuses on careers, not personal lives – it’s about the drive to create, whether individually or as a team, much like an army or sports team. The people portrayed, especially Godard, mostly talk about how to make art, offering advice like being bold, ignoring rules, trusting your gut, and finding cheap ways to work. You could cut most of the dialogue down to memorable quotes and create a really nice inspirational book – the kind a thoughtful aunt might give as a gift. Some of this advice might even lead to more films like the famously bad “The Room,” and that’s okay too.

I first encountered the film “Nouvelle Vague” at the Cannes Film Festival, right near the beach where Jean-Luc Godard famously said all you need for a movie is a girl and a gun. (It was a perfect setting, and sadly, one you can’t relive!) Since then, I’ve come to realize how much the French New Wave influenced Richard Linklater’s work. His film “Boyhood,” filmed over twelve years, feels like a nod to François Truffaut’s series of films that followed Antoine Doinel as he grew up. And Linklater’s “Before” trilogy seems inspired by the romance between Jean-Paul Belmondo and Jean Seberg, but with a French woman and an American man.

It’s ironic that the French New Wave celebrated originality while often looking back to filmmaking techniques from 65 years prior. Jean-Luc Godard, however, skillfully balanced admiration for classics – like his love for Humphrey Bogart – with groundbreaking innovation. He created films that both honored the past and completely redefined cinema, and continued to build a unique style through constant references to other works. Ultimately, there are no boundaries to creativity – all it takes is picking up a camera and starting.

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2025-10-29 23:01