Latest news with #JeanLucGodard
Geek Tyrant
4 days ago
- Entertainment
- Geek Tyrant
First Teaser Trailer for Richard Linklater's Black and White Tribute to Jean-Luc Godard NOUVELLE VAGUE — GeekTyrant
The first teaser trailer has been released for director Richard Linklater's ( School of Rock , Boyhood , Where'd You Go, Bernadette? ) new film, Nouvelle Vague ( New Wave ). The black-and-white tribute to French/Swiss film director and screenwriter Jean-Luc Godard premiered at Cannes film festival, receiving an 11-minute ovation, and now we can get our first look at the pic. In the movie, Guillaume Marbeck portrays Godard as he directs his first feature, 1960's Breathless , in Paris. Featuring the same warm black-and-white '60s film aesthetic of the seminal source film, Nouvelle Vague is 'told in the style and spirit in which Godard made Breathless ,' directed by Linklater from a script by Vince Palmo, Michèle Halberstadt, Laetitia Masson and Holly Gent. Along with Marbeck as Godard, the cast includes Zoey Deutch as American actress Jean Seberg and Aubry Dullin as her French co-star Jean Paul-Belmondo. Nouvelle Vague will premiere in theaters on October 8th. The movie was also recently acquired by Netflix. Check out the first teaser below:
Digital Trends
5 days ago
- Entertainment
- Digital Trends
Nouvelle Vague, one of the big hits of Cannes, just sold to Netflix
The Cannes Film Festival and Netflix have not always had a smooth relationship, but Richard Linklater's latest film is headed to the streamer following its Cannes premiere. Nouvelle Vague, which is largely in French, chronicles the making of Jean-Luc Godard's film Breathless, one of the most important films ever made and a hallmark of the French New Wave. It's an ironic twist for a movie about a foundational moment in the history of cinema, in part because we don't know whether the film will get a theatrical release other than the mandatory two-week window required for awards consideration. 'It means so much for us to be here tonight. Over a year ago we were filming right here,' Linklater said at the premiere, per Variety. 'And we all said: 'Wouldn't it be amazing if we could end up here showing our movie. It would be crazy to be here.' And here we are! Cinema is magic. It meant so much to us to try and recreate the time and place. It means so much in film history, and it meant so much to each cast member, every crew member. Everybody worked so hard to try and get it right and recreate this moment. And thank you for this moment.' Netflix has never shied away from acquiring titles from big directors, even if it means that those movies don't necessarily get the theatrical releases their directors might want. Nouvelle Vague will hit Netflix this year, but whether it arrives in theaters for any extended amount of time remains unclear.
Yahoo
7 days ago
- Entertainment
- Yahoo
Richard Linklater on ‘Nouvelle Vague' and Playfully Recreating the Making of ‘Breathless': ‘I Don't Have an Oedipal Complex with the French New Wave'
'Nouvelle Vague' is not like any other movie you've seen. It's not a prequel, sequel, or remake of Jean-Luc Godard's debut film 'Breathless' ('À Bout de Souffle'). It's not a documentary about the making of the film, nor is it based on any known IP. You could conjure memories of the fictional 'Day for Night,' from Godard's fellow Cahiers du Cinéma critic and French New Wave member François Truffaut, which takes place on a movie set, or the recent Paramount series 'The Offer,' which chronicles the production of 'The Godfather' from the POV of producer Al Ruddy (Miles Teller). Some have compared Linklater's ensemble of icons from French cinema to Woody Allen's ex-pat literary figures from 'Midnight in Paris.' The fact that Richard Linklater wanted to recreate the 1959 filming of 'Breathless' on the streets of Paris, in French, in black and white, in the Academy aspect ratio, in the 35mm-filmmaking style of the period, with a cast of unknowns who resemble their characters, makes this film unique. The movie is not profound or myth-making. Rather, it's a light and tasty soufflé (pun intended) that chronicles the radical rule-breaking on Godard's first film, shot at top speed without sound in mainly single takes, as the director barked dialogue from his notebook at the actors, who had no script. More from IndieWire 'The Wonderers' Review: Mélanie Laurent-Starring French Family Drama Nails the Uncertainty of Living with a Severe Disability 'Young Mothers' Review: Taut and Tender Drama About a Home for Teenage Moms Shows What the Dardennes Do Best Some are wondering what the well-reviewed movie's fate will be with the Cannes Competition jury. This is Linklater's second time in the Competition after 'Fast Food Nation,' and he doesn't relish the pressure. Winning a prize would help the film's chances of landing a top distributor, though, which Linklater expects within a few weeks. I sat down with the Austin filmmaker on the rooftop of the J.W. Marriott hotel. Anne Thompson: At your , you said you hoped young people — the Letterboxd generation — would want to see this film, as they do at your 40-year-old Austin Film Society. Richard Linklater: They're going to new films, going to what's out. Far as I can tell, we do pretty well there, as far as our grosses for the first-run Indies. Am I deluding myself? Cinema is optimistic. How hard was it to achieve this light, breezy tone? That's the goal, especially in this era; you always want to make it look easy. The jazz musician who says, 'Oh, wait, we just improv,' or John Cassavetes, 'oh, that whole movie was an improv.' You don't want to show the sweat behind it. So you want to make it feel easy. Behind it is a lot of work, and you hide all that. That's what this was. It's unbelievable, the meticulous detail and work that goes into recreating something. Oh, geez. Fortunately, we have a lot of documentation, all the photos. Were you going back to the real Paris locations? It all looked the same to me. Yes and no. I mean, everything's changed. Everything's a bit of a trick. We're back at some actual locations, but some locations, it's just gone. The Champs-Élysées is now just a big sidewalk in the street. But if you go 180 degrees on the other side of the Arc [de Triomphe], the Boulevard Grand Army, it still looks the same. So we went back there, we just reversed them, put them on another side. So the Arc is back there. It's just a little visual trick, but we're near there. It's all there, but it's not exactly. Each location had its own little challenge. You weren't imitating Godard, but what were you doing with the 35mm camera? Richard Linklater: It's just the spirit of the time, what those films look like. You can jump director to director, and there's a commonality of a low-budget look. I studied with my DP [David Chambille]. I've been looking at these films for years with that in mind. But we really sat down and looked. No cranes, no dollies. Really, they don't have the time. It's handheld, but it's not trying to look handheld; it wasn't unmotivated camera moves. It's just the look, the phone, underlit, so the backgrounds blow out a little bit. The windows are overexposed, you get a blowout, which is a no-no in proper cinematography, where you tint the windows and get the balance right. I like the blowout, so we're going to do that. There's not a shot in this movie that wouldn't fit in '59 to '62 or '63, the look of those black-and-white films. You identified with a young director making his first feature, as you did on 'Slacker'? Richard Linklater: I was in a similar position. I'm making a film that doesn't work on paper. No one really knows what the fuck I'm doing. I'm trying to describe it, and everyone's going, 'Oh, you've made films, but, do you know what you're doing?' You're being challenged psychically on a few levels by people. But ['Slacker'] was more unprofessional, you're not proven. I got to admire 'À Bout de Souffle' because he did it within the French industry. It's low-budget French, but he's got a producer. American independents, none of us have a boss over our shoulder, those early films that you're putting on your credit cards, yeah? Yeah. The good thing about that is it's absolute freedom. No one's challenging me on my schedule. But other people challenge, your own crew. They're frustrated with you and your little ideas sometimes. So I knew the psychic challenge of making a film if you're doing something different. You turned to French partners for help. Richard Linklater: Michele [Halberstadt] Pétin and Laurent Pétin, I went straight to the top: 'Either you're going to love this or hate this.' 'Oh no, we see what you're doing!' They came along for a great ride. On the casting, they had some names: 'No, no, we're going to get unknowns.' They came in, they had a headshot, a little bit of resume, and you meet them, they're perfect. The chemistry between Jean Seberg and Jean-Paul Belmondo, as it was in the real film, was extraordinary. Richard Linklater: I knew this would work when I was in editing going through, and I forget what Belmondo and Seberg really look like. They are these guys to me. I forgot (laughs), I liked hanging out with them so much. It's hard to capture these icons. But we were pre-icon. We're telling everybody, 'This isn't icons. You're just kids, yeah?' The script came from your friends Holly Gent and Vince Palmer. Richard Linklater: We've worked together over 30 years. We've been friends for that long. We watch movies together and are cinephile buddies. They were working on this [for 13 years]. We developed it. They deserve all the credit. It was their idea, and their thing. I just got in early. I could see the movie and offer advice. It was a great, flowing process for years. Financing was tough. Through the Pétins, Chanel saved the day, dressing Zoey Deutch as Jean Seberg. Richard Linklater: Worked out great. They came in, very generous. When the Chanel period dress is on set, there's four people: 'The most valuable thing is here.' The whole French fashion world, I have a much better feel for now. I went to the Fashion Week in the winter. I was here finishing the movie. Michele dragged me to the Chanel show. Why put subtitle IDs on the characters? Richard Linklater: I wanted to give everybody equal status, whether you've heard of them or not. These are the people. They must be somebody. I didn't know all of them. There's very few who could know all of them. You have to be real inside. A lot of them are writers for Cahiers du Cinéma, the people in and around the film scene at that time in the Cahiers office. Some are little secondary characters. To me, they're all on the same plane. I thought: 'What if we just give them each a portrait?' I had never really seen that. Even 'Midnight in Paris' is not about the making of film. That's a fun little fantasy. You're not pretending to do a documentary of them. It captures the breezy feel of 'Breathless.' Richard Linklater: I wanted it to. That's exactly the tone and the attempt. Hanging out with the new wave. They've all got their own complexities and their own little things going on. Did this whole thing feel like a seance? They were all back. I was the medium. And they were all back. And they were happy. They were so happy to be together. They all love looking good. They were young. It was all ahead of them. The complexities of long-term relationships did hit them all in some ways. But for this moment, I told the cast, 'If you're not happy here, you're never going to be.' You lined up Zoey Deutch to play Jean Seberg in 2016 during your baseball movie 'Everybody Wants Some!!' Richard Linklater: I said, 'If your hair was [short], you could play Jean. I'm going to do this movie someday.' I was so happy to call Zoey [to say], 'I think it's actually happening.' And then it was, 'You better think it could be next year sometime.' And then it got a little closer, and then we were really close. OK, she's working on her French. We're going through everything. 'Don't cut your hair 'til next week.' Because we were always financing, like all indie films. What took the movie 13 years to get made? Richard Linklater: I was pretty busy doing other things. And what makes it finally 'go' time? Maybe him passing away, Godard. Did you ever meet him? Richard Linklater: No, no one did. I don't know one filmmaker of my generation [who did]. By the 90s, he was pretty much in Switzerland. He wasn't out and about. Halbertstadt said no French person could have made it. Richard Linklater: That's true. It's a compliment. It is. Being slightly outside, I'm not conflicted. Around here, they loom so large, you know, I don't have an Oedipal complex with the French New Wave. I'm just a fan. They're not my oppressor. They're not a legacy. They're not a burden on me. Next up: He's started shooting his film adaptation of the 1981 Stephen Sondheim musical 'Merrily We Roll Along,' a show business story told over the course of 20 years in reverse chronological order. Produced by Blumhouse, the movie stars Paul Mescal, 29, and 30-somethings Beanie Feldstein and Ben Platt as the central trio of close friends. Linklater, who is 64, is shooting his cast, 'Boyhood'-style, every few years. The release date could wind up in the 2040s. 'Nouvelle Vague' premiered at the 2025 Cannes Film Festival. It is currently seeking U.S. distribution. Best of IndieWire Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear' Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal'
The Guardian
23-05-2025
- Entertainment
- The Guardian
The Boys by Leo Robson review – a likeable debut with aimless charm
Early on in Leo Robson's debut novel, the narrator, a likable, aimless, rather detached young Londoner named Johnny Voghel, reads 'a book of Susan Sontag essays and interviews'. Johnny's copy of what he later identifies as A Susan Sontag Reader is an heirloom. It has been extensively underlined by his mother, who has just died, and by his estranged half-brother Lawrence. Johnny wonders if reading Sontag, or his family's other heavily annotated books, will 'unlock a secret or hint at one, offer a glimpse of their dreams or invite them into mine'. A Susan Sontag Reader includes Sontag's 1968 defence of Jean-Luc Godard, the great modernist and Marxist provocateur of French New Wave cinema. If Johnny, in search of family connection, happened to read that essay, he would encounter a paragraph that rather neatly describes the novel that he is in the process of narrating. Godard's films, Sontag writes, 'show an interrelated group of fictional characters located in a recognisable, consistent environment: in his case, usually contemporary and urban'. But 'while the sequence of events in a Godard film suggests a fully articulated story, it doesn't add up to one […] actions are often opaque, and fail to issue into consequences'. There is almost always a kind of ulterior quality to the debut novel of a very good critic, stemming perhaps from a willed suppression of all that the critic knows about novels – how they can go wrong, how they must go right. And a very good critic is what Leo Robson is. For years he has been publishing long, formidably intelligent essays and reviews in venues including the New Statesman, the New Yorker and the London Review of Books. He is one of a handful of working critics worth reading not merely for the rigour of his arguments but for the pleasures of his unfailingly witty prose. He is a great articulator of minority opinions, having dared, among recent sallies, to defend the unfashionable oeuvre of Joyce Carol Oates, diss the films of Pedro Almodóvar, and express deep scepticism about Paul Murray's widely beloved The Bee Sting. With such a reputation, the actual production of a first novel could be construed as either reckless or brave. And the fact that The Boys more or less begins with its narrator reading Susan Sontag might perhaps ring alarm bells, not least because Sontag herself, a superb critic, wasn't much cop as a novelist. But one of the interesting things about The Boys is the way in which it both invites and refuses a 'literary' or 'critical' reading. As in Sontag's account of Godard's films, The Boys goes to some trouble to avoid being obviously 'novelistic'. It has no clanging symbols or coy thematic statements. Scenes and even sentences appear ready to lurch toward event, toward meaning, only to collapse abruptly into a bemusing bathos. It is a pottering-about sort of book. It delivers great pleasure, actually, at the level of humble perception, of anticlimax. It does indeed remind you of a French New Wave film – not one of Godard's spiky assaults on bourgeois complacency, but perhaps something gentler by François Truffaut (who is not mentioned) or Eric Rohmer (who is). Setting and period are hyperspecific: certain parts of London, in and around Swiss Cottage, during the 2012 Olympics. (In some ways it's a London-geography novel, a tube-nerd's dream.) The narrator, Johnny, seems to be looking for love – but is he? He has a girlfriend, whom we barely meet, named Chloe. He muses on the history of his family, Viennese Jews who fled to London during the second world war. His older half-brother, Lawrence, is the book's magnetic core: half hooligan, half intellectual, passionate about city planning and social care. Around Lawrence's charismatic instability, the Voghel family revolve and reshuffle their priorities. A plot, sort of: Johnny and Lawrence repair their estrangement; Lawrence's teenage son Jasper is having a baby with his girlfriend LouLou; Johnny, in trying to find Lawrence a job, discovers himself, in the novel's longest section, deeply attracted to two young postgrad students at the university where he works as an administrator, Harvey (male) and Rory (female). This is a bit Jules et Jim, except that it doesn't quite go anywhere. Instead, Robson lets us hang out with his characters until we find ourselves thinking of them as real people. The Boys, in its prose and in its structure, is almost entirely made up of odd kinks of specificity – as are we all, of course, and as is the world. Hardly bothering with the conventions of 'the novel', it nonetheless – or perhaps I mean therefore – creates a mood that is less like fiction and more like life. It is a rather luminous, eccentric and memorable book. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion The Boys by Leo Robson is published by Riverrun (£16.99). To support the Guardian, order your copy at Delivery charges may apply.
Forbes
19-05-2025
- Entertainment
- Forbes
At Cannes, Richard Linklater Discusses The Future Of Cinema: ‘I Have A Lot Of Hope'
CANNES, FRANCE - MAY 18: (L-R) Aubry Dullin, Richard Linklater, Zoey Deutch and Guillaume Marbeck ... More pose during the "Nouvelle Vague" (New Wave) photocall at the 78th annual Cannes Film Festival at Palais des Festivals on May 18, 2025 in Cannes, France. (Photo by Daniele Venturelli/WireImage) Richard Linklater, the director of the Before trilogy, Boyhood, Dazed and Confused and upcoming Blue Moon, was at the Cannes Film Festival for the premiere of his new movie Nouvelle Vague, which tells the story of the making of one of Jean-Luc Godard's most iconic movies, Breathless, or A Bout de Souffle in French, starring Jean-Paul Belmondo and Jean Seberg and released in 1960. Nouvelle Vague stars Zoey Deutch in the role of Seberg, Aubry Dullin as Belmondo and Guillaume Marbeck as Godard. The film earned an enraptured 10-minute ovation inside the Théâtre Lumière on Saturday night. 'I've made a lot of films, and I always felt, you know, if you do it long enough, maybe you should do one film about making films, so I thought this would be mine,' Linklater said during the press conference. He added: 'It's not about making one of my films, but making a film that inspired me and many generations of filmmakers. A Bout de Souffle is an important film, if you think of the history of cinema, it's been 130 years since the factory doors opened for the Lumière brothers, in 1895 and A Bout de Souffle is exactly the middle point, 65 years ago. So what was modern is now half the cinema history, but it's forever modern and forever inspiring for new generations of filmmakers. So it felt like an important moment in cinema history.' CANNES, FRANCE - MAY 17: (L-R) Michèle Halberstadt, Guillaume Marbeck, Zoey Deutch, Richard ... More Linklater, Aubry Dullin and Laurent Petin attend the "Nouvelle Vague" (New Wave) red carpet at the 78th annual Cannes Film Festival at Palais des Festivals on May 17, 2025 in Cannes, France. (Photo by) One of the many beautiful ways Linklater paid tribute to Breathless in Nouvelle Vague was also by making his own film 'Like it was made in 1959 too.' Later on, Linklater also talked about the theatrical experience and the new ways of consuming movies, especially with the arrival of so many new streaming platforms. He said, 'When you're making a movie, you envision it with an audience, in like what we were privileged to have last night, an appreciative audience, in a theatre, a community. It's a communal enterprise, both making and watching a film, that's definitely the ideal. I have a lot of hope. There's a young generation coming along that loves movies. In Austin where I live, the Austin Film Society that I started 4o years ago, we have two screenings, we show so many movies, and it's all young people coming to the movies.' Linklater added: 'I call them the Letterboxd generation, they're all online, it means a lot to them, they go to the movies, they talk about them, they have a big community. I'm really into film societies, campus screenings, where I saw the New Wave films in those local cinemas. I think that's a big revival, certainly in the U.S. that I'm aware of, that's kind of my world. I am optimistic, cinema is optimistic.' Linklater also explained that cinema has always felt under attack. He said, 'It is tough, it's a struggle, but it always has been. Cinema and art commerce, there's always a threat. But we, the audience, like stories being told to us, we like the format, feature films, there's more indie films than ever being made, it's just harder to get them seen, but we adapt.' He added: 'Most people see films with DVDs later, movies have long lives, you're not going to see everything in the theatre, there's not one purity, I want to get people off purity. You talk to the greatest filmmakers, Martin Scorsese, he watched a movie on a black and white TV growing up, that's where he fell in love with cinema. It wasn't always a movie theatre. Quentin Tarantino it was the video store. Cinema grabs you wherever it grabs you. You find it where you find it, but the cinema is the Church. But you can be worshipful wherever you are.'
