Nouvelle Vague Makes a Case for the Ambition of Youth

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Nouvelle Vague is essentially a portrayal of Jean-Luc Godard creating his groundbreaking film, Breathless, mirroring the original’s style and essence. However, Richard Linklater’s newest offering doesn’t strive to replicate the distinctive elements like jump cuts, documentary-style camerawork, or extensive improvisation that made Godard’s 1960 debut so revolutionary. Instead, it delves into the tale of 28-year-old Jean-Luc, grappling with feeling like the last from Cahiers du Cinéma to transition into directing, and his journey to make his first feature by recruiting friends and skeptical professionals for a rough, budget-conscious production that not everyone was confident would result in a completed film. Essentially, it’s another installment in Linklater’s specialty of ‘hangout movies,’ where he skillfully captures the profoundness in conversations between people.

The film “Nouvelle Vague” doesn’t quite reach the same level of greatness, but it excels at portraying how creating something revolutionary can blur with simply causing chaos. The character Jean-Luc, portrayed by Guillaume Marbeck in his first feature, isn’t very comforting, always donning sunglasses and quoting profoundly from the masters. The film, primarily in French, is a remarkable achievement in casting, boasting an ensemble rich with newcomers and unknowns. Aubry Dullin, who plays Belmondo, stands out as a remarkable discovery, embodying the eccentric charm of the screen legend. In contrast, Zoey Deutch, reflective of Seberg’s established career, is the film’s only recognized actor. As the professional in the room, her face often contorts in frustration during non-filming moments. Tension in “Nouvelle Vague” arises primarily from Jean-Luc’s conflicts with Jean, seeking a script or a plan, or any guarantee against humiliation, and with producer Georges de Beauregard (Bruno Dreyfürst), who desires the same things and also seeks assurance that he won’t lose his investment.

Although Jean-Luc and Georges engage in physical altercations at one point, these conflicts never escalate into serious situations. The production assures us that a remarkable work will emerge from this creative process, despite Jean-Luc frequently dismissing everyone after short filming sessions due to lack of inspiration. However, the rest of the team, including Jean-Paul who humorously mentions his agent’s concerns about his future career because of this project, can find solace in the knowledge that the stakes are manageable and time commitment is minimal. This, essentially, is the message Nouvelle Vague aims to convey. It portrays its characters, including François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson), and Suzanne Schiffman (Jodie Ruth-Forest), not as future cinema legends but as youthful, audacious artists challenging established norms, striving to create something exceptional. The film advocates for artistic license, a concept that necessitates the support of financiers, as well as a cast and crew prepared to risk their reputations.

In essence, Richard Linklater’s film, Nouvelle Vague, is less about the intricacies of the French New Wave and more about the independent film scene he was part of, which produced its own set of talented auteurs who started as daring young artists. The movie depicts late 1950s Paris with historical research, meticulous attention to costumes, vintage vehicles, and digitally removing contemporary elements (a step that its protagonist would likely scorn). However, it’s not just a nostalgia trip. Instead, it relishes in the rule-breaking, playfulness, and experimentation of its characters, as seen in the use of a wheelchair for a dolly shot, or Jean and Jean-Paul dancing together during breaks. The film’s brief moments of tranquility arise from sentimental but somewhat awkward scenes where Jean-Luc learns from different established filmmakers visiting the city. Nevertheless, it’s evident that Linklater aims to highlight the ongoing innovation in cinema across the decades.

Interestingly, Richard Linklater’s attempts to innovate within the filmmaking realm are evident in his extensive long-term projects such as “Boyhood” and his evolving adaptation of “Merrily We Roll Along”, which are filmed over numerous years, taking advantage of the natural aging and transformation of the participants. This approach is fundamentally different from Jean-Luc’s impromptu shooting style. Yet, both methodologies demand a certain level of adaptability – accepting that the universe may not always provide what you expect. While revolution might initially seem like a young person’s endeavor, as exemplified by the Nouvelle Vague movement, it is equally important to nurture this spirit with experience. With time, one realizes that the world won’t crumble if things don’t go as planned – that unexpected events can be either an adventure or an inconvenience.

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2025-05-18 20:54