'Nouvelle Vague': A Lovely Ode to Filmmaking and French New Wave

PHOTO: Netflix

When seeing the words “Un Film de Richard Linklater” during the opening credits of Nouvelle Vague, I couldn’t help but let out a small chuckle. This isn’t because I feel that Linklater is ill-equipped for a film like this, but because there’s something surreal about the notion that he’s directing a film almost entirely in French. But then again, Linklater has made a variety of films in different genres and mediums over his career, so maybe it is more surprising that he hasn’t made a film in another language yet. Given the subject matter of Nouvelle Vague, however, it is plain to see why Linklater would be drawn to it. For starters, it is a movie about making movies, a topic that any filmmaker or film lover can connect with. Add in that it is a film about the making of Jean-Luc Godard’s Breathless, the highly influential film that helped popularize French New Wave cinema, and the project seems irresistible to someone like Linklater. After all, the New Wave has been a major influence on his directorial style, so it makes sense that he would want to pay tribute to it via this film. And as it turns out, he is a great fit for the film, as it matches his distinct, humanistic filmmaking style well and gives the audience a lovely, romantic ode to the French New Wave and the art of filmmaking itself. 

After watching his contemporaries make a splash as part of the French New Wave, Jean-Luc Godard (Guillaume Marbeck) is finally getting his chance to make his first feature-length film. A noted film critic for Cahiers du Cinéma, Godard is trying not to “miss the wave”, and intends to make the film he wants and on his own terms. However, his unusual filmmaking style causes friction between him and his cast and crew, notably his leading lady, Jean Seberg (Zoey Deutch). But while those around him have their doubts, Godard sticks to his guns and works to make the film that would eventually define an entire movement of cinema.

As a longtime fan of Richard Linklater, I always get excited when I learn about a new project of his. Even his lesser work is still interesting, and considering that he’s dipped his toes into many different genres, I am always curious to see anything he does. Nouvelle Vague is certainly one of his more ambitious projects, being that it is almost entirely in French and shot in black and white. Not to mention that it pays homage to one of the most influential films of all time and one of the most revolutionary figures in cinema history. Linklater is certainly up for the task, though, treating this as a docudrama with some stylistic flourishes. I particularly enjoyed the way the film introduces its characters, achieved through shots of them looking directly at the camera and their name being displayed on screen. 

Linklater is able to capture the electricity of creating something, as well as the uncertainty of whether or not it will be successful. While most viewers will know that Breathless would end up being a landmark film, there is a precariousness to how the film’s production is depicted. The viewer can’t help but question Godard’s unorthodox methods, but knowing how everything turns out then makes one marvel that it all worked out for him. It would be easy to treat this film as a standard biopic and treat its unique features as mere affectations, but Linklater treats it realistically and creates a window to the past that is tailormade for film nerds.

While Linklater and writers Holly Gent and Vincent Palmo tell the story of the making Breathless with honesty and realism, the film still has touches of standard biopic here and there. It still gives us the chyrons at the end that tell us what Godard, Seberg, and others went on to do as well as the inclusion of some of Godard’s most famous quotes in the dialogue. These moments don’t feel nearly as egregious as most biopics, but it still cracks the illusion a little. I was a little disappointed that the film did the “what did they do next” thing as it takes away from the scene that precedes it a little. That scene, in which Godard, his producer, and a few of his contemporaries view a cut of Breathless is an excellent ending, and one of my favorite scenes of the year. I understand that viewers who aren’t familiar with Godard or French New Wave might need some of the information espoused in the text on screen following that moment, but I don’t think it is entirely necessary. 

I will say that I mostly like that the film has a more leisurely pace, as it matches the documentary-like filmmaking style commonly associated with the New Wave. However, some might not care for this and feel that the film is moving too slowly. Admittedly, some moments do drag a little, but those who are familiar with French New Wave will understand what Linklater is going for. Perhaps the film’s crown jewel is David Chambille’s cinematography, which is beautiful and captures some of that classic New Wave style. Black and white photography can sometimes feel gimmicky, but it feels wholly integral to Nouvelle Vague to the point that it would feel wrong for it to be presented in color. It also lends authenticity to the film, which is something that most biopics tend to lack. The film operates as a bit of a stylistic exercise that some may not care for, but I think it is far more successful in this pursuit than most films that take similar swings. 

Guillaume Marbeck is a relative newcomer, but you wouldn’t guess that from his performance. He is a true natural, effortlessly embodying Godard’s enigmatic and confident nature. He isn’t doing the showy, traditional biopic performance, but rather an internal and surprisingly relatable one. At his core, this film’s version of Godard is a man who wants to make something new and exciting, and Marbeck uses this as fuel for his performance. There is some serious control on his part to keep Godard more even keel on the surface, but you can feel his passion for film and filmmaking bubbling under the surface. This version of Godard is viewed as a visionary, but he’s also a bit of a pill, which feels rather true to who he really was. There is a stoic quality to Marbeck’s performance, but this only strengthens the mysteriousness of Godard in the film. He has some talent, and I hope we see more of him in the future. 

I was a little surprised to see Zoey Deutch in this, but she is quite excellent as the iconic Jean Seberg. Deutch has such a magnetic quality here, capturing Seberg’s glamour and essence so wonderfully. She adds such an interesting flavor to the film, as she is fascinated yet doubtful of Godard’s filmmaking style. Deutch’s Seberg is driven, charming, and comes across rather genuinely. Much like Marbeck, she finds the humanity of the character while still capturing that certain je ne sais quoi that people like Godard and Seberg were known for. It is definitely one of Deutch’s finest turns, and she is easily one of the best things about the film as a whole. 

Nouvelle Vague is catnip for French New Wave aficionados and acts as a decent primer for the uninitiated. It is a lovely little film that treats Godard and his work with reverence, but largely avoids the cliches of most biopics. It is yet another solid effort from Richard Linklater, and shows that he’s still up for new challenges as a filmmaker. I wouldn’t say this is his best work, but it is still strong nonetheless and further demonstrates his versatility. It may not be as impactful as it could have been, but Nouvelle Vague still manages to be a stylish love letter to cinema and filmmaking that almost any cinephile can appreciate. 

Rating: 4/5