Latest news with #Linklater
Yahoo
20 hours ago
- Climate
- Yahoo
'The community is in a panic': Pukatawagan calls for more help with airport still closed due to smoke
Pukatawagan Cree Nation's chief and council say residents are growing more anxious as the community's only airstrip remains closed because of wildfire smoke. The northern Manitoba community's airport was still not useable as of Friday afternoon, Pukatawagan councillors said at a news conference with the Assembly of Manitoba Chiefs and the Manitoba Keewatinowi Okimakanak. Pukatawagan Chief Gordie Bear told CBC News the airport closed around 6:30 p.m. CT Thursday, as winds pushed smoke from the nearby wildfire toward it and the community, preventing planes from landing. Two days after Manitoba declared a provincewide state of emergency and Pukatawagan was ordered evacuated, more than 2,000 people still need to be transported out of the community, Coun. Kelly Linklater said at the news conference. "We need more resources. We need to move them immediately," Linklater said."The community is in a panic." Linklater said first responders have resorted to using helicopters to fly people out, but at the rate that's going, it's would take days to move everyone. Coun. Connie Constant said between six and 13 people can fit on the helicopters, depending on the aircraft's size. The fire, which was first reported Tuesday, according to the province's wildfire map, was 9,785 hectares in size and about a kilometre away from the community as of Thursday. Trains to and from Pukatawagan were already not running because of the fire threat. Constant said the call for help from other levels of government went out "days ago, while we had an airstrip." "Canada, don't wait until we start losing lives," she said. "We matter. Our people matter. So we're trying. If you look at the map, we're in a peninsula. We got nowhere to go." Pukatawagan — also known as Mathias Colomb — is about 700 kilometres northwest of Winnipeg. Manitoba Hydro said Thursday evening the community was without power because of fire-related damage, adding that there were several burned poles in Pukatawagan, but the full extent of the damage is unknown. Linklater said the community has been without power for three days, and the restoration could take at least a month. Premier calls for calm A Friday afternoon provincial fire bulletin said the federal government and the Canadian Armed Forces are working to support Pukatawagan, "but conditions are very smoky." Before the Pukatawagan news conference, Manitoba Premier Wab Kinew said the Canadian Armed Forces was using helicopters to do reconnaissance in the area as of Friday morning. Aircraft have been taking residents to The Pas for medical attention if needed, Kinew said at a separate news conference. As a precaution, the town's hospital is under a code orange, meaning preparing for a mass casualty or disaster event, he said. WATCH | More evacuations expected, premier says: "I think the most important thing for Manitobans to understand is that we need to be calm," the premier said when asked to address criticisms by First Nations leadership that the province's wildfire response has been poorly communicated. "With transportation, the Canadian Armed Forces is in the business of meticulous planning before they deploy aircraft or before they deploy their troops," Kinew said. "I understand how Manitobans might look at a given situation and have questions. But I'm here to reassure you and tell you that you have the best people leading the response." Constant said the community needs more. "I don't even like the words 'to be patient,'" she said. "We can't be patient. We need action. We need action now." Multiple agencies are working to respond to the fire, the latest provincial fire bulletin said. Are you an evacuee who needs assistance? Contact Manitoba 211 by calling 211 from anywhere in Manitoba or email 211mb@
Yahoo
2 days ago
- Business
- Yahoo
Netflix Buys Richard Linklater's ‘Nouvelle Vague' After Cannes Debut
Netflix has acquired Richard Linklater's Nouvelle Vague, a black-and-white love letter to the French New Wave, specifically to the 1960 classic Breathless. The sale comes after the film's strong debut at the Cannes Film Festival, where it received a 10-minute-plus standing ovation from the audience. 'If you do it long enough, I always thought you can make one film about making films. This is mine,' the filmmaker said at the Cannes press conference for Nouvelle Vague. More from The Hollywood Reporter 'Deported' Comic Russell Peters Doesn't Fear Being Sent Home Under Trump: "They'd Be Damn Foolish to Get Rid of Me" Unpacking That Unexpected 'Sirens' Ending With Meghann Fahy and Milly Alcock How 'The Tylenol Murders' Landed the Suspected Tylenol Murderer for Netflix Docuseries Nouvelle Vague tells the story of the making of Jean-Luc Godard's Breathless, which follows Michel Poiccard (Jean-Paul Belmondo), a small-time criminal on the run after killing a policeman, and his romantic entanglement with Patricia Franchini (Jean Seberg), an American journalism student in Paris. Linklater's French-language movie is shot on film in the 4:3 aspect ratio and stars Guillaume Marbeck as Godard, Zoey Deutch as Godard's star Jean Seberg and Aubry Dullin as Jean-Paul Belmondo. THR film critic Jordan Mintzer wrote in his review, 'It's an impressive package that certainly required more money and manpower than Godard's first feature did, while ironically enough, the moral of this movie is that a big budget and crew aren't needed to make something great. Linklater celebrates JLG's audacity even if he's directed something more conventional (although much to his credit, he directed it almost entirely in French). If Nouvelle Vague is not exactly Breathless, it's a loving homage to the crazy way Breathless was made — back when you could shoot movies fast, cheap and out of control, and somehow change cinema in the process.' Scott Feinberg, THR's executive editor of awards, also predicts that Nouvelle Vague is one of the strongest titles coming out of Cannes in the Oscar conversation. Linklater has previously been nominated for five Academy Awards. Nouvelle Vague will likely not receive a longer theatrical run in the U.S., just the standard awards-qualifying two-week window domestically, a source tells THR. Deadline was first to report the news of the sale. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
Yahoo
3 days ago
- Business
- Yahoo
Richard Linklater's ‘Nouvelle Vague' Draws Raft Of International Buyers For Goodfellas
EXCLUSIVE: Richard Linklater's love letter to the New Wave Nouvelle Vague has sold to more than 20 theatrical distributors worldwide for Goodfellas following its buzzy Cannes premiere, as one of four French majority productions in Competition this year. They join Paris-based distributor ARP Sélection which will release the film in cinemas in France on October 8 on 500 screens, having produced the film under the banner of ARP Production with Linklater's Austin-based Detour Film. More from Deadline Zoey Deutch Felt Jean Seberg's Spirit Helped On The Set Of Richard Linklater's 'Nouvelle Vague': It Was 'A Wild Story' – Cannes Studio Doc Talk In Cannes: Deadline Podcast Hosts American Pavilion Panel On Challenged State Of Documentary Industry Sony Pictures Classics Takes North America & Multiple Territories For Cannes Caméra D'Or Winner 'The President's Cake' The French-language production about the making of Jean-Luc Godard's 1960s New Wave classic Breathless has sold out in Europe for Paris-based sales company Goodfellas. It has unveiled deals to Benelux (Cherry Pickers), the UK & Ireland (Altitude), Switzerland (Filmcoopi), Germany, (Plaion), Spain (Elastica Films), Greece (Cinobo), Italy (Lucky Red /Bim), Portugal (Alambique), Scandinavia (TriArt Film), Ex-Yugoslavia (MCF Megacom), Romania (Independenta), Baltics (Scanorama) and CIS (MJM Group). In the rest of the world, it has been acquired for Latin America (Cine Canibal), Japan (Nikkatsu Corporation/AMG), Australia (Transmission Films), South Korea (AUD), and Indonesia (Falcon Pictures). Canada, China and Asia are among territories currently under negotiation. Goodfellas says all the distributors are planning theatrical releases for the film. Nouvelle Vague, which is Linklater's first French-language film, received the support of France's National Cinema Centre (CNC), Ciné+OCS and Canal+. ARP's Michèle Halberstadt, who is a producer and co-writer on the film, and Goodfellas will submit Nouvelle Vague as a candidate to be France's Best International Feature Film entry for the 2026 Oscars. The selection process takes place in the fall. The international deals announcement follows news that Netflix has acquired U.S. rights for the film, where it will receive an awards-qualifying theatrical run and have support through the fall season. Nouvelle Vague reconstructs Godard's chaotic, improvised, hand-held shoot of Breathless on the streets of Paris over the summer of 1959. Shot in black and white and with a 4:3 aspect ratio, it stars Guillaume Marbeck as Godard, Zoey Deutch as Jean Seberg, Aubry Dullin as Jean-Paul Belmondo with other New Wave figures making appearances including François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson) and Raoul Coutard (Matthieu Penchinat). The film enjoyed an 11-minute ovation in Cannes and strong reviews, with Deadline critic Pete Hammond writing of the film: 'Linklater's splendid love letter to the French New Wave and Godard will make you fall in love with movies all over again.' Best of Deadline 'Hacks' Season 4 Release Schedule: When Do New Episodes Come Out? Everything We Know About 'Hacks' Season 4 So Far 'The Last Of Us': Differences Between HBO Series & Video Game Across Seasons 1 And 2
New European
4 days ago
- Entertainment
- New European
Richard Linklater and the new wave of new wave
This isn't a documentary, but a drama that recreates the Paris of 1959, the streets and the cars and the cafes and the clothes, all shot in black and white, just like the masterpiece of iconoclastic indie film-making itself, the one that defined the new wave of this film's title. Sometimes, it's like they make the movies just for you. Who else would possibly enjoy this? I wondered, as I sat there in Cannes' main temple of cinema, the Grand Theatre Lumiere, dedicated to those founding brothers of the movies, Auguste and Louis Lumiere, watching a film all about the making of another film, the one that practically reinvented cinema: Jean-Luc Godard's À bout de souffle. Directed by American indie stalwart Richard Linklater and shot entirely in French, Nouvelle Vague could come across as indulgent and niche. I hope so. The more indulgent, the nichier the better, say I. But if you love French cinema and love Paris and love À bout de souffle (and let's face it, if you do the two former, it's probably due to the brilliance of the latter), then you'll love Nouvelle Vague. I settled into my seat and realised I was in the sweet spot of my happy place. If you don't know the many stories behind À bout de souffle, Linklater's effortlessly amiable film will fill you in. He describes it as: 'The story of Godard making À bout de souffle, told in the style and spirit in which Godard made À bout de souffle.' So there must be some licence taken even if I think everything here is true, or at least it feels that way – which, as Godard himself might say, is all you need for a movie. Using mostly unknown French actors, Linklater introduces us to the main instigators of this zeitgeisty mid-century moment, including François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson), Éric Rohmer (Côme Thieulin) and JLG himself (a superbly accurate Guillaume Marbeck, swathed in cigarette smoke and dark glasses) as well as actors Jean-Paul Belmondo (Aubry Dullin) and Jean Seberg (Zoey Deutch, fabulous). Then there are what one might term the lesser-known creatives such as cinematographer Raoul Coutard (Matthieu Penchinat) and stills photographer Raymond Cauchetier (Franck Cicurel), whose images were equally instrumental in defining the era. So, yes, it's a sort of faux documentary at times: whenever the characters are introduced on screen, they pause for a couple of seconds and stare at the camera in a composed tableau, as if posing for an old-fashioned still photograph, while their names come up on the screen. There's a whiff of Wes Anderson whimsy here, but the film is nothing like Anderson's archly American The French Dispatch. Linklater is immersed in the moment, in the spirit of '59, the better to make us feel the fun of it all, the breezy joie de vivre that's still instantly conjured up whenever you think of À bout de souffle. So the film takes us through the agonies of Godard's jealousy watching his fellow film critics at Cahiers du Cinéma make their film debuts, and his conversations with producer Georges de Beauregard before he launches into the 20-day shoot of À bout de souffle, writing by hand the day's pages in a cafe every morning (there was never a script), ending the day's filming when he's run out of ideas, making it up on the spot, smoking, smoking, smoking, and cutting, cutting, cutting. But, under Linklater's worshipful gaze, it all feels like the biggest, boldest adventure, illuminated by the playful machismo of Jean-Paul Belmondo and the stylish beauty of Jean Seberg's gamine star quality. Linklater re-creates famous lines and scenes from the film, but shoots them from a reverse angle, from Godard and the camera's point of view, thus throwing new light on images we might have seen many times before, now appearing as fresh as they day they were printed. There are oodles of cinephilic in-jokes, too, including cameos from contemporary luminaries Roberto Rossellini (Laurent Mothe), Jean-Pierre Melville (Tom Novembre), Robert Bresson (Aurelien Lorgnier), who was making Pickpocket at the time, Jean Cocteau (Jean-Jacques Le Messier) and Juliette Gréco (Alix Benezech). There are quips and quotes, there are delicious movie-making moments capturing how Godard directed his actors and how they moved to his strict instructions. You don't have to be an expert in French cinema to love this, though it probably helps. I am, unashamedly, so I don't know or care, which is why I say I felt like they were making it just for me. Maybe that (Cannes-do?) spirit of self-starting and rule-breaking appealed to me because, as some of you might know, I'm about to make my first movie as a producer (A Waiter in Paris, based on the memoir by Edward Chisholm), due to be shot partly on the streets of Paris, on a film partly inspired by all this nouvelle vague coolness. The first night I arrived in Paris to live for a year, as a language assistant in 1991, I went to watch À bout de souffle, for the very first time. My life changed that night, or at least shifted into a different gear. I fell in love, with Paris and with movies. So now, watching Godard, his crew and his contemporaries take to the streets in their various contraptions – shopping carts and wheelchairs adapted to get their handheld shots and sense of movement – it rang out again, pushing me into another new gear with what felt like a challenge and a validation, that every now and then cinema can and must be reinvented, injected with fresh visions and personality, the prevailing order given a right run for its money until it is literally out of breath. And that I can do this, go from critic to film-maker. I'm not directing my movies and, somewhat worryingly, the only guy that looks a bit exasperated in Nouvelle Vague, is the producer character, George de Beauregard, forever fretting that no one's shooting, or that there's no script, to the point that he and Godard come to blows and a full-on grapple match on a cafe floor. Is that what I'm signing up for? Worth it for the creation of a classic, I'd say – plus Beauregard went on to produce Cléo de 5 à 7, Une femme est une femme, Le Mépris, Pierrot le fou… I'd take that, if it means I have to roll with the punches. Then there's all the music Linklater uses, not just some of the famous Martial Solal soundtrack to Breathless, but also other jazz and French sounds of the time, such as Sacha Distel, Dalida and I'm sure I heard Michel Legrand's work with Miles Davis from Legrand Jazz, which came out in 1958… then again, I always hear Miles Davis's trumpet when I see Paris on screen, whether it's there or not. And a word, too, for Deutch, the only American actor here (she previously starred in Linklater's campus film Everybody Wants Some from 2016), playing Jean Seberg and capturing all her American-accented French so perfectly, as well as her haircut and her walk, that jaunt up the Champs-Élysées shouting 'New York Herald Tribune,' all her style, dressed in Chanel and exuding the magical, diva quality that made producer Beauregard fork out half the budget on hiring her (see, producer's instincts are everything). I don't usually focus on one film from Cannes, but Nouvelle Vague, playing in Competition, struck me as something special, something new. I didn't catch them all, this year. For the last 25 years or so, I've seen all the Competition films, fearful that I might miss the Palme d'Or winner, but with producing duties taking over this year, I had to do meetings with financiers, listen to co-production and tax credit panels and sit down with sales agents, very important people at Cannes, no doubt. But as Nouvelle Vague shows, when the history of cinema is told, when they recount the legends of making movies to pass on the baton to a new generation, such as Linklater does here, on screen there are critics, costumiers, cinematographers, actors, writers, script editors, the assistant director. There's a producer and, briefly, the marketing guy. But there are no sales agents or financiers. One might wonder where all this ancestor worship fits in Linklater's own ever-growing and mutating oeuvre. Now 64, he's always been a flag bearer for indie film, since his loose-limbed breakthrough Slacker helped define the golden era of '90s American movie making, compounded by Dazed and Confused and the rather brilliant Before trilogy, starring Ethan Hawke and Julie Delpy across the years, with my favourite being the achingly romantic Before Sunset, taking place in Paris. But he's also had the big hit of School of Rock, as well experimental animation work, and the mighty yet subtle achievement of Boyhood, spanning decades. He ticks off the styles and the stats with a Godardian appetite, reflecting on the passing of time (his films can take place in a day, or over long periods), ambition (or lack of it) among young people, and the act of artistic creation. His films are often about just hanging out with a bunch of characters, so Nouvelle Vague is right up his boulevard I'd say, as if he's actually totally disappeared into À bout de souffle while showing it at one of his famous Austin Film Society nights, like the characters in Woody Allen's The Purple Rose of Cairo. (Allen himself recently fulfilled a dream of making a film entirely in French, Coup de Chance, though it may prove his last). Nouvelle Vague is a 'hang out' movie, a chance to transport yourself to a Cahiers editorial meeting, or to the Cinematheque, to a new wave film set, and to the cafes and streets of 1959 Paris, to smoke and drink coffee, to be reminded of youthful arrogance, even if these tweedy French intellos do look a bit like university professors than punk-like rebels. Let's remember that film critics can become great film-makers, because we all love movies after all. Let's keep cinema sexy and daring, it says, let's aim high to match the best. Let's remember what Godard said: 'You don't make a film, the film makes you.' And let's ride that wave.
Mint
23-05-2025
- Entertainment
- Mint
Cannes 2025: ‘Nouvelle Vague' is a winsome homage to Godard
'Reality is not continuity!" exclaims Jean-Luc Godard during the making of À Bout de Souffle, as a script supervisor attempts to remove a coffee cup that hadn't been there in the previous shot. Correction: exclaims the actor playing Godard in Nouvelle Vague, Richard Linklater's film about the making of the 1959 French New Wave classic. (As if all this wasn't meta enough, try watching it at the Cannes Film Festival in a theatre full of critics and filmmakers.) It's a bold move to tell a story about the making of one of the most influential—and most studied—films in cinema history, particularly one whose place in the canon marks a disruption of all the filmmaking conventions that came before it. Add to that the notion of an American director assembling this homage to one of France's biggest icons and things could go horribly wrong… if it weren't for the fact that it was Linklater behind the camera. Over the last 30 years he has challenged the conventions of filmmaking in his own ways, most notably with his Before trilogy of films, all shot nine years apart to allow for the story (co-written with his actors) to naturally age and mature with time. His other speciality is capturing the bravado and insouciance of youth, which we see here in the form of a 29-year-old film-critic-turned-filmmaker who made his very first film in a span of 20 days without much of a plan. Experimental and unstructured as Godard's style may have been, Linklater's Nouvelle Vague is not. But it's also not trying to be. 'You can't imitate Godard. You'd fail," he said at a press conference at Cannes. Meticulously plotted and rehearsed, the film has a beginning, middle and end—in that order. (Another deviation from the Godard school of action.) It opens with Godard bemoaning how his fellow film critics (such as Claude Chabrol and Francois Truffaut) at Cahiers du Cinema made their directorial forays before him. Spurred into action by the fear of being left behind, Godard gets producer Georges de Beauregard to fund his debut feature based on a rough story outline written by Truffaut, and casts Jean-Paul Belmondo and Jean Seberg as the leads. Most of Nouvelle Vague is dedicated to the production process of the film, and how Godard bucked convention at every turn. Take for example: showing up to shoot without a script, avoiding rehearsals so as to capture his actors' instincts, choosing to have key action sequences take place off-screen. Though much of this is already well known and documented, what sells this particular peek behind the scenes is the cast, made up almost entirely of unfamiliar faces. Guillaume Marbeck is an incredible find; the unknown French actor is the spitting image of Godard, aided by the signature dark sunglasses that don't come off for even a moment. Hollywood actress Zoey Deutch nails Seberg's off-kilter American-accented French, and another unknown French actor Aubry Dullin rounds out the trio with his playful (and equally charismatic) Belmondo. Shot on 35mm film in 1:37 Academy ratio, the black-and-white film was shot to look like the films of that era, meaning it also does not feature any camera movements or stylistic choices that didn't exist prior to when Breathless (as it's known to English-speaking audiences) was made. 'In making this film, I felt like I had erased my own history," said Linklater. 'I was going back to being in my late 20s making my first film. I also had to erase cinema history after 1959. So I was going back in time personally and cinematically." The film keeps up a zippy pace throughout, though its periodic pauses to introduce seminal characters of that time—Agnes Varda, Jean-Pierre Melville, Robert Bresson and the like—start to wear thin after a while. Some of the strongest moments are when Godard butts heads with his producer, who is becoming increasingly worried that his director seems to be eschewing a formal narrative in favour of creating an improvisational rhythm all his own, and also has a penchant for shooting only when inspiration strikes (even if that's just two hours a day). Nothing about Linklater's film is as audacious as Godard's debut but it has a winsome exuberance that's quite infectious. Perhaps where the film will be most successful is among young audiences unfamiliar with these French New Wave pioneers, and with cinephiles for whom films about films have always been catnip. It may not matter that Nouvelle Vague isn't doing anything novel. It's made with such sincerity and such a reverence for not just the craft of filmmaking but for the leap of faith required to undertake such a thing that it's impossible not to be won over. Back to the forest Exactly 56 years after Satyajit Ray made Aranyer Din Ratri (Days and Nights in the Forest), his beautifully observed film about complex social dynamics between a group of young friends and strangers, a restoration of the classic was screened at the Cannes Film Festival. The process of its meticulous 4K restoration was initiated by Wes Anderson, an avowed Ray fan, in his capacity as a board member on Martin Scorsese's Film Foundation. In his opening speech at the Cannes screening, Anderson said, 'Days and Nights in the Forest is one of the special gems among (Ray's) many treasures. I first saw it 25 years ago on a very strangely translated, blurry, scratchy, pirated DVD from a little Bollywood shop in New Jersey. And I hope you'll enjoy it tonight, perfectly restored, as much as I did then." The film's stars Sharmila Tagore and Simi Garewal were in attendance at the screening alongside Shivendra Singh Dungarpur from India's Film Heritage Foundation, which supported the restoration process in collaboration with Janus Films, The Criterion Collection and the Golden Globe Foundation. Recalling the sweltering summertime shoot, Tagore shares, 'It was so hot we could only shoot from 5.30-9am and then again from 3-6pm. The rest of the time was just adda, it's a Bengali word which means bonding and making friends…Sadly, Simi and I are the only survivors (from the cast); everybody else has passed on. So I will see my old friends on the screen and relive those lovely moments." And in her closing words of thanks, Garewal said to Anderson and Dungarpur: 'You've not only restored this film, you've made it immortal." Pahull Bains is a freelance film critic and culture writer. Also read: India's bars get creative with zero-proof drinks
