by Jesse Dixon
One of two Richard Linklater films getting an Australian release this January, and
shot in beautiful black & white, Nouvelle Vague tells the story of French New
Wave visionary Jean-Luc Godard as he crafts his first feature film: Breathless.
Before the announcement of the 83rd Golden Globe nominations, many people
may have been unaware that there were not one, but two Richard Linklater films
having an awards run. Ethan Hawke had been picking up some steam for his
performance as Lorenz Hart in Blue Moon, but not until Nouvelle Vague was
nominated in the category of ‘Best Motion Picture – Musical or Comedy’, beating
out popular contenders Jay Kelly and Wicked: For Good, did people begin to take
it seriously. Then came a place in the Cinematography shortlist for the 98th
Academy Awards, and suddenly, we have a contender on our hands!
You may be familiar with Jean-Luc Godard, who, in this film, is putting together
his debut feature, Breathless, now an acclaimed masterpiece. Even if you have
never heard of this man, you will recognise him and the filmmakers he has
influenced instantaneously. Guillaume Marbeck is perfectly cast as Godard,
disappearing into the role as he reminds you of every pretentious film bro you’ve
met, dated, taken classes with, or seen in the mirror every day.
But he’s actually doing something. He’s creating a film in a way that we’re not
really used to anymore, with 250+ day Stranger Things shoots and films being
delayed left, right and centre due to reshoots and rewrites. No, Marbeck’s Godard
believes in three takes or less, raw performances, and doesn’t believe in sound
guys. It’s a refreshing watch for some, aggravating for others.
The supporting cast is also great. Zoey Deutch is quite good as Breathless star Jean
Seberg, as is Aubry Dullin as her on-screen counterpart, Jean-Paul Belmondo. The
aforementioned cinematography shortlist nomination is well deserved, the
production design is well thought out – the film looks excellent.
The only major knock against what is otherwise a very pleasant film-centered
period piece is the lack of conflict. There are very few roadblocks in the
production, no quarrels or dilemmas that seem to be of any importance, no
moments where you feared for any particular character. The film moves passively
along at a nice pace, like a cruise ship; it never speeds up. Obviously, the film is
based on a true story, but not all of it is very cinematic. I was very happy for
Godard and the filmmaking team for completing their work, but I wanted some
stakes, some emotion, some consequence. This is very much ‘guy goes to film
school, makes a film, and the rest is history’. Well, I’m a guy that went to film
school, and it’s not that simple.
So if you’re in the mood for a cosy afternoon watch, if you love film and are
interested in how they are made, if you’ve always wanted to take that trip to France
but haven’t been entirely convinced, then this is the film for the occasion. But if
you seek a challenging watch, an invigorating study into the mind of a challenged
creative, then you’re best to look elsewhere.
Nouvelle Vague is in Australian cinemas from January 8th.