‘Nouvelle Vague’ Review: Richard Linklater’s Charming Tribute Goes Down Smooth

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The French New Wave produced a wealth of incredible directors – François Truffaut, Claude Chabrol, Agnès Varda, and many others. Richard Linklater’s new film, Nouvelle Vague, features them all, even if just briefly, often simply displaying their names on screen. While many talented filmmakers defined the movement, Jean-Luc Godard was the most influential, and his story – specifically the making of his groundbreaking 1960 film Breathless – is the central focus of Linklater’s movie.

Guillaume Marbeck plays Jean-Luc Godard in this new film, which is director Linklater’s first primarily in French. The story starts in 1959, as the French New Wave movement is gaining momentum. François Truffaut, a friend and competitor of Godard’s from the influential film magazine Cahiers du cinéma, is about to unveil his critically acclaimed debut film, The 400 Blows, at the Cannes Film Festival. Godard, meanwhile, is feeling frustrated. He had hoped to direct a film by age 25, like Orson Welles did with Citizen Kane, but hasn’t. He’s driven to create something – anything – and while he has some ideas, he’s more focused on the act of filmmaking itself than on the final product, thanks to his complex theories about cinema.

Throughout the late 1950s, a vibrant film movement called the French New Wave was gaining momentum around Jean-Luc Godard. Critics and writers from the magazine Cahiers du cinéma, inspired by American and Italian filmmakers and a wealth of film theory, called for a fresh approach to French cinema. They wanted to move beyond traditional filmmaking and emphasize the director’s personal vision. Filmmakers like Truffaut, equipped with affordable new technology, boldly broke the rules and sparked a worldwide cinematic revolution.


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Godard takes this situation even further. Linklater’s film portrays him as he’s often seen – a charismatic, eccentric, and somewhat arrogant genius completely dedicated to filmmaking. After much convincing, he’s secured funding from the influential Georges de Beauregard for his first feature. However, there’s a catch: he must use a crime story outline originally developed by Truffaut, with Claude Chabrol providing creative guidance. It’s a dream team for the French New Wave, and now Godard just needs to deliver the film.

The film’s creation began with Godard gathering his crew, including the gritty cinematographer Raoul Coutard (played by Matthieu Penchinat), stars Jean-Paul Belmondo (portrayed with remarkable accuracy by Aubry Dullin), and American actress Jean Seberg (played by Zoey Deutch). The process quickly felt chaotic, like attempting a heist without a strategy, as filming started with no finalized script or shooting schedule. Throughout the 20-day shoot, Godard would often spend time improvising ideas that confused everyone, frequently wrapping up for the day after only a few takes and well before schedule.

Nouvelle Vague doesn’t really have any surprises. Anyone familiar with cinema will know Breathless, its importance, and that it was a groundbreaking film. We already know the movie gets made, and that the seemingly disorganized process will result in a masterpiece. The enjoyment of Linklater’s film – co-written by Holly Gent and Vincent Palmo, with French dialogue by Michèle Halberstadt and Laetitia Masson – comes from simply watching the lively, chaotic energy as Godard brings his ambitious vision to life.


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Throughout the chaotic production, Godard faced constant pressure from the producer, a frustrated Jean Seberg who regretted joining the film, and a crew who questioned the project’s value. Godard himself sometimes doubted his approach, but his persistence is captivating to watch. This blend of madness and creativity makes for compelling drama and humor, allowing director Linklater to showcase the innovative techniques behind Breathless. From secretly filming on the streets of Paris to shooting scenes with only a few takes, and then assembling it all with quick, jarring cuts, the film’s groundbreaking style emerges as a result of a talented team bringing the director’s vision to life.

Linklater not only filmed Nouvelle Vague primarily in French, but he also deliberately chose to shoot it on 35mm film, in black and white, and using the same square-like screen shape (1.33:1) that director Godard favored for his first movie. While Godard’s impact is clear, the film’s style is less experimental than what Godard himself often preferred. Instead, Nouvelle Vague feels more akin to a Truffaut film about Godard, capturing a warmer, more personal, coming-of-age story like The 400 Blows, and echoing the playful, behind-the-scenes energy of Day for Night. Some might consider this direct approach to depicting such an innovative artist as Godard to be too simple or even misguided, but it ultimately allows Godard’s personality to shine through, truly capturing the spirit of the French New Wave movement that the film portrays.

As a film critic, I have to say Linklater’s Nouvelle Vague is a genuinely delightful experience. It playfully explores a pivotal moment in cinema history – the French New Wave – and lovingly nods to figures like Godard and Truffaut, as well as a whole host of other legendary and lesser-known filmmakers. While it acknowledges Godard’s famously challenging personality, the film itself doesn’t adopt that same prickly style, instead showcasing it through the character. Ultimately, it’s a smooth, charming film that cinephiles will absolutely adore – and Linklater proves once again he knows how to make a truly enjoyable movie.

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2025-11-03 23:03