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Yahoo
22-05-2025
- Entertainment
- Yahoo
Deadline Studio At Cannes Film Festival 2025: Paul Mescal, Jennifer Lawrence, Robert Pattinson, Spike Lee, Imogen Poots, Kristen Stewart & More
Deadline photo studio hosted talent at the 78th annual Cannes Film Festival, as cast members of Cannes premiering films stopped by, including Spike Lee from Highest 2 Lowest; Paul Mescal and Oliver Hermanus from The History of Sound; Michael Angelo, Dakota Johnson, Adria Arjona, Kyle Marvin for Splitsville; Richard Linklater, Zoey Deutch, Guillaume Marbeck for New Wave; Frank Dillane from Urchin; Jennifer Lawrence and Robert Pattinson for Die My Love; Imogen Poots, Thora Birch, Kristen Stewart from Chronology of Water, and many more. RELATED: Cannes Film Festival 2025 In Photos: Awards Ceremony, Movie Premieres, Parties & More More from Deadline Cannes Critics' Week Winners: Thai Film 'A Useful Ghost' & 'Imago' Take Top Prizes 'The History Of Sound' Review: Paul Mescal And Josh O'Connor Make Beautiful Music Together In Moving Love Story - Cannes Film Festival Neon Takes North American On Buzzy Brazilian Pic 'The Secret Agent'; Can Distributor Hit Six Palmes d'Or In A Row? - Cannes The Deadline Studio at Cannes will run from May 14-21, where the cast and creatives behind the best and buzziest titles in this year's lineup sit down with Deadline's festival team to discuss their movies and the paths they took to get to Cannes, France. The Deadline Studio at Cannes is sponsored by SCAD, Cast & Crew and Final Draft. Best of Deadline 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out? Everything We Know About The 'Hunger Games: Sunrise On The Reaping' Movie So Far Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds
Yahoo
22-05-2025
- Entertainment
- Yahoo
‘Nouvelle Vague' Review: Richard Linklater's Splendid Love Letter To French New Wave And Godard Will Make You Fall In Love With Movies All Over Again
In 1983, Jim McBride attempted an English-language remake of Jean-Luc Godard's 1959 cinema landmark, Breathless with Richard Gere. It broke one of Godard's cardinal rules: It was in color. Although not as terrible an idea as Gus Van Sant's disastrous shot-by-shot 1998 color remake of Hitchcock's 1960 Psycho — which, like Godard's forever-influential movie the year before, also broke all the rules of its genre — it is dismissed today with the original still finding new life with young audiences each generation, as France's New Wave also continues to do. With the truly wonderful Nouvelle Vague (New Wave), premiering today in Competition at Cannes (where else?), Richard Linklater smartly has not attempted a remake of Breathless but rather a certain regard and respect for the wildly creative cinematic period Godard and his contemporaries achieved with the French New Wave. A cinema revolutionary in spirit and deed himself — just watch his masterful Boyhood that was shot over 12 years or his currently in-production 20-year shoot of Sondheim's Merrily We Roll Along — Linklater, working from a great and witty script by Holly Gent and Vince Palmo, instead has made a film about the making of Breathless in the exact style the original was made: in black and white with a 1:37 aspect ratio and completely in French. It succeeds beyond my wildest dreams and with great love and respect for this era and its giants in every way. More from Deadline Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Deadline Studio At Cannes Film Festival 2025: Photos Of Jennifer Lawrence, Robert Pattinson, Kristen Stewart, Imogen Poots, Thora Birch & More 'Renoir' Review: A Young Girl Seeks Connection In Touching & Haunting '80s-Set Drama - Cannes Film Festival One of those New Wave pioneers, Francois Truffaut, made a movie about making a movie, 1973's Oscar-winning Day for Night, that remains the litmus test for this sub-genre, a movie that can't be topped. Linklater might not have topped it, but he matches it for sheer joy and pure delight as a movie to remind us why we love movies in the first place. Near the beginning we see a crowded theater with Godard, Truffaut, Claude Chabrol, and Suzanne Schiffman just as a premiere is ending. 'Your movie is a piece of sh*t, ' states Godard to the producer, to which Schiffman comments that at least there is free food at the afterparty. This group along with others all began as film critics for the bible of French movie criticism, Cahiers du Cinema, each going on to great success as filmmakers themselves. Godard (a pitch-perfect Guillaume Marbeck), however, feels he is running behind, especially jealous of Truffaut, whose seminal The 400 Blows is getting a Cannes Film Festival premiere, and he has yet to make a feature (shorts don't count as cinema in his book). At the Cannes premiere he becomes more determined than ever to make his first feature, enlisting jaded producer Georges de Beauregard (a wonderful Bruno Dreyfursft) to put up the money. But this is going to be a film done like no other since Godard's rules of no script only notes, no color, no scope, no sync sound so he can shout out directions, and dialogue he writes in a café each morning before the day's shoot. He signs on American star Jean Seberg (Zoey Deutch, terrific) who made an early splash as Joan of Arc in Otto Preminger's Hollywood take on the French icon, as well as that director's Bonjour Tristesse. Godard tells her he wants her to be just like she was in that movie, no need to act. He also cast rising star Jean-Paul Belmondo (Aubry Dullin), a friend, against Belmondo's manager's advice that this crazy movie could torpedo his career before it gets going. Nevertheless, the shoot proceeds with Belmondo assuring the manager it will never get released. Watch the trailer: Linklater shoots all over Paris on the same locations Godard used, setting up familiar scenes from the movie but showing the freedom and lust for cinema that defined the New Wave and Godard's assured but revolutionary style. He won't allow actors to see any script pages (there aren't any anyway) for fear they actually would prepare and create their own take on the dialogue and scenes instead of what he envisions. Seberg cries to her husband Raoul Coutard (Matthieu Penchinat), who is a protector on the set, that she wants to quit and doesn't know why she is in this film. No wonder. Her wardrobe is not exactly glamorous, and when her make up artist arrives, Godard tries to send her away, saying, 'No one wears makeup in my film.' Belmondo, on the other hand, seems endlessly amused by the whole improvisational process. Weaved in and out are other soon-to-be famous directors like Truffaut (an uncanny Adrien Rouyard), Chabrol (Antoine Besson), Jean-Pierre Melville (Tom Novembre), who gives tips when Godard visits his set, and on and on including a wonderful scene where Italian Roberto Rossellini arrives as guest speaker to a room full of eager 'New Wave' hopefuls who fill the place with enthusiasm for this 'godfather' of Nouvelle Vague. Clearly Linklater and his team have done their homework and research. All the names (and there are so many flashed on screen throughout) are authentic, nothing appears made up — or at least we hope so. You feel like you somehow got in a time machine and have been taken back to what seems like a magical place where movies are everything. It has been re-created stunningly, with special shout-outs to cinematographer David Chambille, production designer Katia Wyszkop, costume designer Pascaline Chavanne and editor Catherine Schwartz. The scenes at the end when Godard finally gets into the editing room, assuring producer Beauregard it will come in at the contractual 90 minutes, are priceless. His mantra is this is where the film will be made, no scenes will be cut, just parts of them until it all becomes a whole. The casting here is exquisite with Marbeck, in dark glasses at all times, just sensational capturing every nuance that we know is Godard, and snapping off one great line or quote. As he says, 'We control our thoughts, which mean nothing, but not our emotions, which mean everything.' This Godard never stops quoting others too. 'Art is never finished, only abandoned' is a Da Vinci saying he lives by. It is an unforgettable performance. Deutch is especially impressive as Seberg. There wasn't a moment I thought I was watching anyone else but Seberg. On down the line, not a false not from anyone. This is that rare bird, a movie about movies that doesn't miss a beat. Whether you have seen Breathless or not doesn't really matter. If you love film, cinema, and the dreamers who create it this one will simply take your breath away. Producers are Michele and Laurent Petin. Title: Nouvelle Vague (New Wave)Festival: Cannes Film Festival (Competition)Sales agent: ARP SelectionDirector: Richard LinklaterScreenwriters: Holly Gent and Vince PalmoCast: Guillaume Marbeck, Zoey Deutch, Aubry Dullin, Adrien Rouyard, Antoine Besson, Jodie Ruth Forest, Bruno Dreyfurst, Benjamin Clery, Matthieu PenchinatRunning time: 1 hr 45 min Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out? Everything We Know About Ari Aster's 'Eddington' So Far
Tom's Guide
20-05-2025
- Entertainment
- Tom's Guide
'The Boys' creator gives season 5 update — 'there's no guarantee of who's gonna survive'
"The Boys" season 5 is still filming, but some of the cast and crew took a break from production to tease what to expect in the show's final season. "There will probably be lots of deaths,' show creator Eric Kripke bluntly told those in attendance at the Deadline Studio at Prime Experience. "There's no guarantee of who's gonna survive." He's not the only one saying to expect the unexpected. Nathan Mitchell, who plays the supe Black Noir II on the show, told Deadline, 'There are some things that are coming in season 5 that you're not going to have in your bingo card.' That said, some things have been in the works from season 4, destined to pay off in the next installment. 'I look at the last two seasons … like an accordion,' said Antony Starr, whose portrayal of Homelander is now iconic after four seasons. 'One piece of the accordion is going out and then this is the compression going back in. There was a lot of setup in season 4 for season 5. Everything is gunning towards that climactic end.' Unfortunately, some things you'll see on the screen might also hit a bit close to home, something the show has had to struggle with as the absurdity of real life starts to mirror this satirical show about superheroes gone bad. "[Eric] Kripke and the writers will write the season," said show star Colby Minifie, "and then two years later, the season will come out and things happen in the world that are like [what was written]." Get instant access to breaking news, the hottest reviews, great deals and helpful tips. "I actually hate that sometimes," chimed in fellow star Jack Quaid, whose character, Hughie, started the series as the lone "normal" person and audience avatar but is now completely involved in the fight against supes beyond his initial quest for vengeance. "It was meant to be dystopian," added Starlight actress Erin Moriarty. "It's become like weirdly reflective." So, who will suffer a shocking fate? What moments will have our jaw on the floor (or one of the show's characters' jaws literally on the floor)? You'll have to watch season 5 when it comes out to know for sure. But in the meantime, make sure to follow all our latest "The Boys" season 5 coverage to stay up to date with the show's final season. Malcolm has been with Tom's Guide since 2022, and has been covering the latest in streaming shows and movies since 2023. He's not one to shy away from a hot take, including that "John Wick" is one of the four greatest films ever made. Here's what he's been watching lately:
