A fascination of my days at Cannes film festival came upon me with Nouvelle Vague. That is because I was a student intern at the prestigious film festival in 2016. Richard Linklaer brought me back to the historic days of Cannes and the early days of directors trying to make a name for themselves…all around the focus of Jean-Luc Godard. Nouvelle Vague is a classy gem of cinematics with a large body of centerpieces to keep the vibe of New Waves feeling present. Nouvelle Vague is so vibrant. With black-and-white lighting and cinematography, historic vibes and movie competition are at the heart and soul of the film itself. Linklater knows how to push boundaries among what makes a film a true and surreal masterpiece. Especially one aiming at the younger days of a director of our generation…Jean-Luc Godard.

Linklater puts all his efforts into directing a film to the wonders aimed at the French New Wave. The film is aimed at the early days of the film Breathless. Guillaume Marbeck is Jean-Luc Godard, and he plays the role authentically. It aims at the era of his struggles, but also his cinematic visions coming to life. He is one that pushes the limits of his filmmaking. He does this byfinding his own art and creating the meaning behind the movies he wants to create. The cinema as an art is seen through the deep lens of the artistic creations surrounding Nouvelle Vague. 

The politics of success are all on the table. Even the ones of tension. But the lighting creates a sense that illuminates the thought of tension. It helps to remind its audience that the hero is Godard. Linklater’s approach is subtle, vibrant, and on point. Especially with the dynamic of capturing how Godard directs Breathless. Expect lots of trial and error, and politics, but also expect Godard to not take no for an answer…that is what creates a pioneer of success that fuels a reel to burn with rapid colors of glory.

I do love how there is the key tone of the early days of the industry. The days of what it took to create movies to capture essence without computers. The days of creating prints and film reels by slicing—its was all about consistence and attention to detail—Godard was all about that—Linklater is as well with Nouvelle Vague. The many moving parts to create a film to grab audiences in this historic sense captures how the competition had tons of heat based upon what studios, directors, critics, or producers were looking for—Godard wanted to be his own craftsman.

The round up of actors is where the politics heat-up the film for wonders of success. That is because this is the era where names had a purpose. Zoey Deutch plays Jean Seberg and Aubry Dullin plays Jean-Paul Belmondo. The dynamics of Marbeck, Deutch and Dullin are a gem. Linklater knows how to create love and hate relationships that make audiences ask how do some tolerate each other? How do they do to that in an era that goes way back? How did they find success? Tons of leverage and more connections come around in Nouvelle Vague.

The film felt like a treat for me. I have worked in cinemas. I have seen transitions of movie projectors, I have seen many types of film reels, I have taken film history courses, and I still go out of my way to find prints of films that I cannot see anywhere else. I felt I was in the world of time machine of projection reels—because I was taken back to how the moving parts of studios and filmmakers went at it in a completely different era. Linklater brings in many thorough colors to the mix with such historic value. Four out of four stars for Nouvelle Vague.