This year’s Cannes Competition saw Richard Linklater return for the first time since 2006, and as expected from the acclaimed American filmmaker, he did not disappoint. His film Nouvelle Vague delighted the Cannes audience and even had Quentin Tarantino watching it twice within eight hours.
★★★★★
Films that premiered at the Cannes Film Festival are gradually making their way into cinemas and streaming platforms. It goes without saying that the festival spotlights exceptional niche productions—defining the next generation of visionary filmmakers—as well as celebrating remarkable comebacks.
Nouvelle Vague follows the making of Breathless, Jean-Luc Godard’s iconic 1960 film that revolutionised filmmaking techniques. But rather than simply retelling the story behind Breathless, Linklater pays a heartfelt homage to this transformative period in cinema history that emerged in France during the late 1950s and early 1960s. It’s an ode to the art of filmmaking and the creative process behind it, seen through Godard’s unconventional working style. Ironically, if one were to contrast the two directors, Linklater’s meticulous approach couldn’t be more different from Godard’s spontaneous, ‘let’s film as we go’ method, which provides a number of comedic moments in Nouvelle Vague. Zoey Deutch, who plays Jean Seberg, pointed this out during the Cannes press conference, describing Linklater as “the most clear and decisive person” who, from the very beginning, made it clear their workflow would be the exact opposite of what we see in the making of Breathless.
In the film, we meet Godard (Guillaume Marbeck) at the dawn of his directorial career. Surrounded by his equally artistic and influential friends and colleagues from Cahiers du Cinéma, it almost feels like his debut feature is overdue. When you are friends with François Truffaut (Adrien Rouyard) and Claude Chabrol (Antoine Besson), the pressure to deliver a masterpiece is impossible to escape. The film introduces the key players of the French New Wave with close-ups and on-screen name tags—aside from Truffaut and Chabrol, figures like Roberto Rossellini (Laurent Mothe), Jean-Pierre Melville (Tom Novembre), Jacques Rivette (Jonas Marmy) and Robert Bresson (Aurélien Lorgnier) all make an appearance. These sparked audible enthusiasm among the audience, as the film brought to life the very circle that redefined not just French, but global cinema—and who better to appreciate that than a Cannes audience full of devoted cinephiles?
This initial excitement is sustained by spectacular performances. Marbeck nails his portrayal of Godard, perfectly capturing his smart-alecky attitude and quirky nature with striking authenticity. The signature glasses Godard wears throughout help trick the audience into believing it might actually be the man himself, brought to life on screen. Deutch is absolutely endearing as Jean Seberg, an American starlet who constantly questions her decision to participate in Breathless and grows increasingly frustrated by Godard’s unconventional methods. It’s an opportunity for Deutch to show off her undeniable acting talent—and her French skills!
Despite Godard’s difficult temperament and unorthodox style, it’s hard not to root for him and his film. His unwavering determination is infectious, a reminder of how cinematic boundaries are pushed. You can’t resist laughing at how Godard maneuvers through the film industry to ultimately get what he wants, eventually delivering one of the most important works in cinema history. Linklater and Godard’s shared dedication to cinema is clear. A testament to this is that the film is entirely in French with English subtitles, even though Linklater barely speaks the language. Clearly, the filmmaker’s vision knows no barriers. A truly Godard-worthy approach.
Both Godard and Linklater shared the same dream of screening their film at the Cannes Film Festival—and both succeeded. Nouvelle Vague relives the moment Breathless premiered at Cannes in 1960, the very place where the idea for Godard’s film was conceived. It made for the ultimate Cannes meta-premiere.
Linklater doesn’t attempt to make a period piece or a Breathless remake. Instead, he invites viewers into an intimate and raw exploration of a pivotal moment in French cinema history. Nouvelle Vague has it all: black-and-white cinematography, captivating performances and Parisian streets that transport you back in time. The film is less about a polished narrative and more about capturing a feeling, a celebration of spontaneity and creativity. And who does that better than Richard Linklater?
The Verdict
Nouvelle Vague is Linklater’s touching tribute to those who came before him and shaped him as a filmmaker. It’s beautifully shot, playful, and witty. While watching it, you just can’t help but appreciate the art of cinema.
Words by Luiza Świerzawska
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