Richard Linklater’s ‘Nouvelle Vague’ Is Going to Netflix. Is Jean-Luc Godard Turning Over in His Grave?

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Upon learning that “Nouvelle Vague,” Richard Linklater’s thought-provoking and uplifting docudrama chronicling the production of “Breathless,” had been acquired by Netflix, I couldn’t help but share a sentiment I believe many others felt. The thought crossed my mind: Perhaps Jean-Luc Godard would be stirring in his resting place. This isn’t just another film about the creation of a film; it’s about the making of a movie that embodies the essence of film itself.

1959 marked the creation and editing of “Breathless,” followed by its release in 1960. This groundbreaking film significantly redefined the concept of what cinema could achieve. It garnered success as an art-house film, a distinction that Jean-Luc Godard would only experience once. The enchantment and allure of this movie lie in its unconventional portrayal of a black-and-white Parisian gangster narrative that seemed more like a documentary than a typical film. This unique blend of realism and exaggeration captured life as it is, while also transcending it, offering a larger-than-life experience to viewers. A new generation of movie enthusiasts and filmmakers were captivated by “Breathless,” which ultimately redefined the nature of films, paving the way for the transcendent realism of New Hollywood – a period we can consider as the third significant phase of cinema (with silent films being the first phase and the studio system of the sound era marking the second).

Despite the fact that Linklater’s homage to “Breathless” might seem most fitting for the grandeur of a movie theater, it appears ironic, even sacrilegious, that this would only be accessible on small screens. If the New Wave wasn’t meant to be enjoyed in cinemas, then what is independent film for? (Indeed, “Nouvelle Vague” will have a two-week run qualifying it for Oscars, meaning it will play in a few theaters in New York and LA. However, 99% of viewers will watch it from their homes.)

Initially, when I contemplated this notion, a second idea quickly followed. I delved further into my reflections, considering how Jean-Luc Godard might react to the realization that his intricate tribute to his pioneering debut and the essence of the French New Wave would predominantly be viewed on television rather than in cinemas. It occurred to me that he might find it amusing and dismiss the matter as being irrelevant to the survival of cinema itself.

Pondering what Jean-Luc Godard, had he lived beyond 2022 (he passed away at the age of 91 through assisted suicide), might remark about Netflix, I envisioned his characteristic witty, enigmatic style translating into something like, “One believes Netflix and cinemas are separate entities. Yet, today, one is watching Netflix more than ever while in a movie theater.

To Jean-Luc Godard, “cinema” wasn’t merely about watching a film on the big screen; it represented a profound spiritual experience – a journey into the sacred realm that the big screen could offer. Over his contemplative and intellectual career, Godard delved into video (a medium often associated with smaller screens), and he may not have endorsed the “New Wave” movement himself. He might have expressed, ” ‘Breathless’ was cinema. ‘New Wave’ is a museum exhibit. Thus, ‘Breathless’ now belongs in a museum.

During the latest Cannes Film Festival, where “Nouvelle Vague” received a captivating reception, I engaged in several hypothetical discussions with various individuals about how the film would fare once it was released to the public. There were numerous debates about which distribution company would best suit it and who might purchase it. Netflix was frequently mentioned: They had obtained Linklater’s previous film, “Hit Man” (at the Venice Film Festival in 2023, where they paid a impressive $20 million for it). However, I have a sense that “Hit Man,” despite its success on Netflix, didn’t generate the buzz it would have in movie theaters, leading me to suspect (or perhaps project) that Linklater wasn’t overly pleased with this outcome. I speculated that he granted the “Hit Man”/Netflix deal as an experiment, and it seemed unlikely that he would wish to repeat it, especially for a cinematic gem as delicate as “Nouvelle Vague.

It appears that there’s a general consensus that a distributor like Neon or A24 wouldn’t propel “Nouvelle Vague” into a box office blockbuster, as is typically the case with independent films these days. For instance, “The Brutalist” barely scraped $16 million, and even “Anora,” which won five Oscars, just managed to surpass the $20 million mark. Given that “Nouvelle Vague” revolves around a group of French cinema enthusiasts who significantly impacted filmmaking 65 years ago, it was expected to have a niche audience. With careful management, it’s estimated that the movie could earn between $3 to $5 million at the box office. Therefore, one might wonder why the venue matters if the film is streamed on Netflix instead?

The film titled “Nouvelle Vague,” primarily filmed in Paris and featuring mostly French dialogue (approximately 90%), has the potential to represent France in the Oscars’ Best International Film category. This nomination, coupled with Zoey Deutch’s captivating portrayal of Jean Seberg for Best Actress, is what “Nouvelle Vague” might be most aspiring towards. Notably, Netflix has shown exceptional prowess in this category; it won the award for “Roma” in 2019 and “All Quiet on the Western Front” in 2023, and received nominations for films like “The Hand of God,” “Society of the Snow,” and “Emilia Pérez.” This track record offers a strong case for “Nouvelle Vague” to partner with Netflix.

Given all these factors, I’m left wondering why Richard Linklater and the financiers chose Netflix as the distribution platform for “Nouvelle Vague.” In today’s digital era, where advertising visibility is significantly fragmented, a movie’s success often hinges on turning it into a spectacle or an Event. This strategy has worked for Tom Cruise, and it was also employed when selling “The Brutalist” (It boasts VistaVision! It’s a masterpiece! Adrien Brody delivers his finest performance since his previous outstanding role!).

As a cinephile, I believe that “Nouvelle Vague” had the makings of a cinematic event, especially for the younger generation who might not have encountered Jean-Luc Godard’s classic “Breathless.” However, I can imagine them being drawn into the world of French New Wave after watching “Nouvelle Vague,” and then eagerly seeking out “Breathless” to deepen their appreciation. Richard Linklater’s name carries significant weight in the film industry, standing as one of the enduring giants. With “Nouvelle Vague” being his most acclaimed work since “Boyhood” (2014), I am confident that its critical acclaim would have enticed many to catch a glimpse of this masterpiece. The allure of this cinematic whirlwind – a renowned director crafting a film about another groundbreaking director during the golden age of cinema – is undeniably captivating.

Although “Nouvelle Vague” may still achieve success, I’m not convinced that its reception will be as profound as it could have been. The reason being, a significant factor in the ideal situation would have been: people flocking to see it. That’s how films typically gain momentum. The fact that “Nouvelle Vague” debuted at number 3 on Netflix’s Top 10 list doesn’t quite capture the same essence. When “Breathless” was released, going to the movies was simply going to the movies – it meant leaving the house, an activity people in 2025 should engage in more often. (It signified stepping out of their homes.) “Nouvelle Vague” could be considered a film that elevates nostalgia to an artistic level. However, when viewers watch it now on Netflix (provided they choose to), the nostalgia will encompass not only the movie itself but also an era when films loomed larger than life.

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2025-05-31 21:47