Richard Linklater's Cannes Competition Film ‘Nouvelle Vague' Gets New Teaser Trailer
The black-and-white movie, shot in the 4:3 aspect ratio, stars Guillaume Marbeck as Jean-Luc Godard, Zoey Deutch as Godard's star Jean Seberg, and Aubry Dullin as Jean-Paul Belmondo.
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'This is the story of Godard making Breathless, told in the style and spirit of Godard making Breathless,' reads a synopsis for the film. Austin impresario Linklater shot his love letter to the French New Wave on location in Paris, explaining that his mission in making the film was 'to show the absolute love of cineastes.'
The screenplay is from Vince Palmo, Michèle Halberstadt, Laetitia Masson, and Holly Gent, while David Chambille was in charge of cinematography. Goodfellas is handling international sales on the project.
Crime drama Breathless, written and directed by Godard, features Belmondo as a young criminal and Seberg as his American girlfriend. French and Swiss film legend Godard's first feature-length movie became Belmondo's breakthrough as an actor. Godard (1930-2022) began work as a film critic before becoming a screenwriter and director.
The trailer for Nouvelle Vague teases 'a pretty boy, a pretty girl, Paris 1959' and also promises stars, money, adventure and more big names from the film world, among other things. Check out the new teaser, including how it highlights that this is 'a film for the big screen, below.
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Vogue
2 hours ago
- Vogue
Paris Is for Grievers, Too
It may sound cliché, but I have always been drawn to Paris. Just like Carrie Bradshaw, Emily Cooper, and Jo Stockton all are—I knew being there would change me. So when I got an acceptance email from a study abroad program for a spring semester, I knew I was going. What I didn't know was that my entire life was about to change. The email arrived in my inbox a week before my 22-year-old big sister, Ivy, died by suicide. She was a strikingly beautiful, shockingly brave, effortlessly cool, truly brilliant young woman. Ivy was everything I wanted to be and everything I never authentically could be. Her confidence and intelligence were truly spellbinding; people either loved her or hated her (and one of her greatest superpowers was that she didn't care which). In the wake of losing her, I could not sleep, eat, speak, or at times even move. I had not only lost the most important person in my life, but somehow, I had also lost myself. Suddenly, I was no longer a little sister; therefore, it felt like I was no longer a person. I was just a body, a barely beating heart, paralyzed by grief. About a month after Ivy's death, a follow-up email from the study abroad advisor popped into my inbox. I could barely pull back the covers in the morning, so how could I possibly move to Paris? Everyone, from my family to my therapist and the psychologists whose articles I read online, repeated the golden rule of grief: Don't make any big changes in the first year of a sudden loss. Be stable. Take it day by day. Don't put yourself in challenging situations—you might not make it if you do. I deleted the email notification from my home screen and sank back into my state of half-sleep. Eventually, I found myself able to get out of bed, motivated to find somewhere to cry besides my bedroom, which did not have a real door. I wandered through DC's Rose Park, up the hill, past the playground, to the Female Union Band Society Cemeteries, to a silent, sad, leafy area that I loved because I could be alone. The air was so crisp and unfriendly that it felt like it was back home in Iowa, where we grew up. Through blurry eyes and a haze that only life-altering grief can bring upon someone, I made a decision: I was going to Paris. My life would never be the same, so I might as well make it as different as possible.
Yahoo
8 hours ago
- Yahoo
Movies and Entertainment Market Outlook and Company Analysis Report 2025-2033 Featuring Paramount, Sony, Walt Disney, Warner Bros, Comcast, Netflix, Vivendi, The Idea Factory, Amazon, Marcs
The Worldwide Movies and Entertainment Market is on track to soar from $101.33 billion in 2024 to $201.55 billion by 2033, advancing at a CAGR of 7.94%. This growth is fueled by digital consumption, streaming adoption, and tech innovations enhancing global viewer experiences. Major players like Netflix, Disney+, and Amazon Prime drive content accessibility, boosting cross-cultural exchange. Challenges, such as content piracy and saturation, persist amid rapid expansion. Key regions include the US, France, India, Brazil, and Saudi Arabia, each contributing uniquely to market dynamics. Explore industry trends, drivers, and future outlooks shaping global entertainment. Movies and Entertainment Market Dublin, Aug. 14, 2025 (GLOBE NEWSWIRE) -- The "Movies and Entertainment Market - Global Outlook & Forecast 2025-2033" report has been added to Worldwide Movies and Entertainment Market is expected to expand to US$ 201.55 billion in 2033, from US$ 101.33 billion in 2024, at a Compound Annual Growth Rate of 7.94% over the forecast period 2025-2033 The growth is spurred by increasing digital consumption, adoption of streaming services, global proliferation of content, and technological advancements that optimize viewer experiences across multiple platforms, from cinemas to on-demand home watching. The film and entertainment industry entails the creation, production, distribution, and exhibition of motion pictures, television shows, music, and digital content. The industry consists of film studios, streaming services, production houses, cinemas, and broadcasting services. Essentially, the industry aims at entertaining, educating, and inspiring global viewers through narratives, music, drama, comedy, and special have many roles outside entertainment - movies are powerful tools for cultural expression, education, and social commentary. Documentaries educate about global concerns, while feature films provide emotional release and distraction. Television shows and music offer relaxation, inspiration, and identification with other around the globe, the entertainment industry has experienced rapid growth in popularity due to speeding digitalization, smartphone adoption, and widespread internet like Netflix, Disney+, and Amazon Prime have changed the way content is viewed by the audience, offering convenience and a variety of options. Content from around the world is now more accessible to audiences, thereby allowing for more cross-cultural exchange. Blockbusters, music festivals, and international film awards still attract gigantic viewership numbers. With the evolution of virtual reality, AI, and immersive media, the fame and popularity of the movies and entertainment sector are bound to touch even higher levels across borders and for Growth in the Global Movies and Entertainment Sector Extended Growth of Digital MediaThe growth of streaming media such as Netflix, Amazon Prime Video, and Disney+ has radically transformed the consumption of content. On-demand is now the consumer's preferred option, which has enabled global audiences to watch a variety of media at any given time and from anywhere. This shift has opened up avenues of original content creation, localization, and global distribution that have made digital a significant source of revenue for the entertainment industry. September 2024: Ultra Media & Entertainment Group unveiled advanced OTT platforms, Ultra Play and Ultra Gaane, dedicated to preserving Hindi cinema and music heritage. The sites offer fans something unique by presenting a vast collection of classic Bollywood films and eternal Hindi tracks in their archives, including refurbished movie classics and hit in Smartphone & Internet PenetrationIncreased internet access and mobile phone adoption - especially in growth markets - are powering a surge in content consumption. People are able to listen to music, watch movies, or consume social media content while moving around in real-time, thus increasing aggregate media consumption and demand for new types of content such as short-form video and mobile-first content. 5.65 billion people worldwide were using the internet at the start of July 2025, equivalent to 68.7 percent of the international Advancements & Immersive ExperiencesTechnologies like Virtual Reality (VR), Augmented Reality (AR), and AI are transforming entertainment. Immersive technologies are expanding user engagement and offering personalized viewing experiences. Platforms and studios are incorporating these technologies to make inroads into tech-savvy viewers and provide higher quality content. January 2023, Sony introduced the LME-FR7, an interchangeable lens camera with pan/tilt/zoom (PTZ) capabilities built into the camera and full-frame image in the Worldwide Movies and Entertainment Industry Increased Content PiracyDigital piracy remains a scourge of the industry, shrinking revenues and intellectual property rights. Pirated material is readily duplicated and shared with rapid internet and file-sharing sites. This damages legitimate distribution channels, discourages investment in original material, and creates astronomical economic losses across the whole Competition and Saturation of ContentWith the content flood on all platforms, it has become ever harder to keep viewers' interest. From blockbusters to indie productions and internet series, viewers are being swamped with choices. This saturation raises content production costs and marketing pushes, and compels platforms to continuously innovate to remain viable and Movies MarketThe global movie market is strong on the back of box office hits, international co-productions, and continued investments in domestic cinema. Theater releases continue to dominate the revenue generation in areas like India and China. Online ticketing, online marketing, and cinema technology (such as IMAX and 4DX) enhance movie experience and engagement Music MarketThe music sector is experiencing strong growth because of hit streaming platforms such as Spotify, Apple Music, and YouTube. Artists are able to engage directly with listeners globally, determining global cross-cultural music trends. Digital music revenue exceeds sales of physical copies, while international collaborations continue to rise. Pop, K-pop, hip-hop, and electronic music are ruling charts globally, driving industry Videos MarketThe video entertainment platform, including sites like YouTube and TikTok, and short-form content sites, has expanded exponentially. User-generated content, like video diaries, tutorials, and live streaming, attracts billions of views daily. Video advertising is also a significant revenue stream, as brands dish out hefty amounts for influencers and content creators for specific Movies and Entertainment Digital Media MarketOne of the strongest pillars of the entertainment industry is digital media, which consists of apps, OTT platforms, and social media. Ease of viewing on mobile and customization recommendations are driving digital media consumption. Subscription services, freemium offerings, and advertising-based services strike a chord with various consumers, thereby making digital media one of the major growth segments Movies and Entertainment Streaming Media MarketOver-the-top streaming media services deliver a seamless content experience on a device. Netflix, Hulu, and local OTT platforms have revolutionized distribution models successfully. Viewers are anticipating original, diverse, and binge-worthy content. Increasing investments in streaming infrastructure and content production are constantly reshaping viewing habits around the world and consumer loyalty. Key Players Analysis (Overviews, Key Persons, Recent Developments, SWOT Analysis, Revenue Analysis) Paramount Sony Pictures Digital Productions Inc. The Walt Disney Company Warner Bros. Entertainment Inc. Comcast Netflix Vivendi The Idea Factory Inc. The Marcs Studios Key Attributes: Report Attribute Details No. of Pages 200 Forecast Period 2024 - 2033 Estimated Market Value (USD) in 2024 $101.33 Billion Forecasted Market Value (USD) by 2033 $201.55 Billion Compound Annual Growth Rate 7.9% Regions Covered Global Key Topics Covered: 1. Introduction2. Research & Methodology2.1 Data Source2.1.1 Primary Sources2.1.2 Secondary Sources2.2 Research Approach2.2.1 Top-Down Approach2.2.2 Bottom-Up Approach2.3 Forecast Projection Methodology3. Executive Summary4. Market Dynamics4.1 Growth Drivers4.2 Challenges5. Global Movies and Entertainment Market5.1 Historical Market Trends5.2 Market Forecast6. Market Share Analysis6.1 By Product6.2 By Type6.3 By Countries7. Product7.1 Movies7.2 Music7.3 Videos7.4 Others8. Type8.1 Print Media (Newspaper, Magazines)8.2 Digital Media (Television, Radio, Podcasts)8.3 Streaming Media (OTT, Live)9. Countries9.1 North America9.1.1 United States9.1.2 Canada9.2 Europe9.2.1 France9.2.2 Germany9.2.3 Italy9.2.4 Spain9.2.5 United Kingdom9.2.6 Belgium9.2.7 Netherlands9.2.8 Turkey9.3 Asia-Pacific9.3.1 China9.3.2 Japan9.3.3 India9.3.4 South Korea9.3.5 Thailand9.3.6 Malaysia9.3.7 Indonesia9.3.8 Australia9.3.9 New Zealand9.4 Latin America9.4.1 Brazil9.4.2 Mexico9.4.3 Argentina9.5 Middle East & Africa9.5.1 Saudi Arabia9.5.2 UAE9.5.3 South Africa10. Value Chain Analysis11. Porter's Five Forces Analysis11.1 Bargaining Power of Buyers11.2 Bargaining Power of Suppliers11.3 Degree of Competition11.4 Threat of New Entrants11.5 Threat of Substitutes12. SWOT Analysis12.1 Strength12.2 Weakness12.3 Opportunity12.4 Threats13. Pricing Benchmark Analysis13.1 Paramount13.2 Sony Pictures Digital Productions Inc.13.3 The Walt Disney Company13.4 Warner Bros. Entertainment Inc.13.5 Comcast13.6 Netflix13.7 Vivendi13.8 The Idea Factory13.9 Inc.13.10 The Marcs Studios14. Key Players Analysis For more information about this report visit About is the world's leading source for international market research reports and market data. We provide you with the latest data on international and regional markets, key industries, the top companies, new products and the latest trends. Attachment Movies and Entertainment Market CONTACT: CONTACT: Laura Wood,Senior Press Manager press@ For E.S.T Office Hours Call 1-917-300-0470 For U.S./ CAN Toll Free Call 1-800-526-8630 For GMT Office Hours Call +353-1-416-8900Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data


New York Times
9 hours ago
- New York Times
‘Suspended Time' Review: A Nostalgic Detour
Olivier Assayas's wistful, lightly off-kilter 'Suspended Time' takes place in the spring of 2020, an interlude that few would want to revisit. The setting is a retreat in the Chevreuse Valley, a pastoral region about an hour's drive from Paris and an even shorter distance from the Palace of Versailles. Here, amid vivid green hills and smatterings of largely unseen neighbors, two middle-aged brothers have fled the pandemic with both their respective neuroses and their girlfriends to a serenely beautiful country house. The brothers grew up in this refuge, which remains crowded with art, books and ghosts, so many ghosts. The story is modestly scaled and largely centers on the brothers Paul (Vincent Macaigne) and Etienne (Micha Lescot) as well as their less-consequential partners, Morgane (Nine d'Urso) and Carole (Nora Hamzawi). A music journalist with an opulent silver mane and darkly tinted glasses that he wears no matter the hour, Etienne has a slender frame and a habit of needling his brother. He's the kind of guy who wouldn't bother to meet your gaze at a party. The shambolic Paul, a filmmaker whose beard offsets his receding hairline, has worried eyes and the open neediness of someone you'd avoid at that same party. Like some siblings, the brothers don't look like each other and scarcely make any sense when they're together, which slowly feeds the comedy and the pathos of their gently antagonistic relationship. Assayas sketches in that connection with precision and economy, prying open each man's sensibility — and his attitude toward the other — through their everyday, simple (and less so) actions and freighted talks. Shortly after the movie opens, a box from Amazon arrives for Paul. With cumbersome gloves and flamboyant caution, Paul handles the package as if it were radioactive (a very familiar image for some of us) as his brother watches him with barely contained incredulity. Then Etienne criticizes Paul for ordering from Amazon. Assayas isn't interested in idealized types, and he doesn't overtly take sides here. Instead, he nudges you back and forth between the brothers; it's not for nothing that some of the characters play tennis. Watching other people fumble, comically or otherwise, in a global catastrophe isn't inherently inviting. And the beauty and comfort of this refuge can almost feel like a provocation. There are nods to other people's suffering, true, and at one point Etienne names some musicians who have died during the pandemic, including the singer-songwriter John Prine. In the main, though, this lockdown has the quality of an idyll rather than a grim escape. Birdsong fills the air rather than the distant whine of plane engines. It's bittersweet. The most appealing character in 'Suspended Time' is Assayas, a hovering offscreen presence who delivers the confessional, gracefully digressive narration. The house is the one that he grew up in — a desk in the movie belonged to his father, an elegant bedroom was his mother's — and like many childhood homes, it is now a personal museum of sorts. In one soaring interlude, roughly midway through, Assayas begins speaking about himself over images of Paul running in the countryside, an outing that sends the filmmaker down memory lane, as it were. 'Young, I couldn't run,' Assayas says, explaining that he couldn't properly breathe. 'I've come to like it,' he says of running. 'I've found my bearings.' (He did, at least artistically.) As Paul continues his run, Assayas, in voice-over, maps the circuit he himself now takes during his runs by ticking off specific mileposts — a swing set, a tennis court, a pond — that he repeatedly passes, grounding himself. Soon after, the director cuts to black-and-white shots of a young man running in the same area on the same circuit, which in turn inspires more remembrances. Assayas then toggles between the young runner and a series of still images, speaks about the library where he worked on his master's thesis, the thinkers he studied, a filmmaker who inspired him, a woman he loved. He speaks about running before driving into Paris and recalls the frost and his breath in the air, moments in time that are gone yet not lost. Want all of The Times? Subscribe.