\n<\/p>\n
\n\tAll you need to make a movie is a girl and a gun. Cameras, actors, and locations help as well. Scripts are, of course, totally optional. What is really required, however, is passion and determination. Jean-Luc Godard has these qualities in abundance. It\u2019s 1959, and he\u2019s just watched his fellow-critic-slash-obsessive at the esteemed magazine Cahiers du Cin\u00e9ma,<\/em> Fran\u00e7ois Truffaut, debut his first feature The 400 Blows<\/em> at Cannes. Godard has some shorts under his belt. But he\u2019s the last of his gang at the journal to go from writing about films to creating them \u2014 Claude Chabrol has already made two<\/em> of them, the bastard! And Eric Rohmer has also written a novel! The young, hungry Parisian with the sunglasses and the bottomless reservoir of pithy maxims is more than ready to make his mark. <\/p>\n \n\tThankfully, Godard knows a number of fellow obsessives and some guys with dough who are willing to help him achieve that goal. His buddy Truffaut even has an idea about a would-be French gangster who gets into hot water, based roughly on the true-crime tabloid story of Michel Portail. Both a girl and<\/em> a gun are involved, so: boxes ticked! An amateur pugilist who Jean-Luc collaborated with previously, before the guy joined the army and was stationed in Algeria, is recruited to star in it. So is a professional actress with a pixie cut from Hollywood, USA, via Iowa, who worked with Godard\u2019s beloved Otto Preminger. Production will be casual, to say the least. Spontaneity delivered 24 frames per second will be prioritized over preparation and motivation. The result will change movies forever.<\/p>\n<\/p>\n \n\tRichard Linklater\u2018s Nouvelle Vague<\/em> time-travels to the moment right before modern cinema\u2019s big bang, when the French New Wave crested and Godard\u2019s Breathless<\/em> would change everything. Tackling the making of a bona fide masterpiece would be enough to keep the Boyhood<\/em> director busy, but he\u2019s decided to up the degree of difficulty in the name of fidelity. This isn\u2019t just shot in black-and-white, thus resembling the 1960 meta-commentary on American crime thrillers and pulp fictions in all its monochromatic glory. That\u2019s simply a Tribute 101 move. Linklater also insisted the dialogue be in French, a language he doesn\u2019t speak. He throws in retro touches like analog pops and the \u201ccigarette burns\u201d that used to signal reel changes. More importantly, this origin story of a movie and a movement apes the joie de moviemaking<\/em> and the jazzy looseness of the original to an absolutely amazing degree, replicating an off-the-cuff feeling that\u2019s more than a second-hand buzz. It\u2019s the most blissful time spent in the dark you can imagine. (This hits select theaters today before dropping on Netflix on November 14th, and if ever a valentine was designed to be seen in the company of other film lovers, it\u2019s this one.) <\/p>\n \t\tEditor\u2019s picks<\/p>\n<\/h2>\n \n\tSo yes, slip on your Ray-Bans and light up your Parisiennes and ride shotgun with Jean-Luc (Guillaume Marbeck), as he slouches towards Bethlehem, a.k.a. the Cin\u00e9math\u00e8que Fran\u00e7aise<\/em>, and bops around town with Truffaut (Adrien Royaurd), Chabrol (Antoine Besson), and Suzanne Schiffman (Jodi Ruth-Forest). Eavesdrop on conversations with Rohmer and Jacques Rivette in the Cahiers<\/em> office, the clack of dueling typewriters soundtracking the camaraderie, and play voyeur as everyone\u2019s hero Roberto Rosselini stops by to address the troops and pocket finger sandwiches on the way out. Witness Godard, oozing Gallic charm and hipster cool, convince Jean-Paul Belmondo (Aubry Dullin) and Jean Seberg (Zoey Deutch) and cameraman Raoul Coutard (Matthieu Penchinat) to be down for the cause. And laugh the laugh of the long-converted as this upstart drives everyone from his starlet to producer Georges de Beauregard (Bruno Dreyf\u00fcrst) and assistant director Pierre Rissent (Benjamin Clery) cuckoo by his unconventional methods and lack of concern over time, money, plot, etc., secure in the knowledge that Breathless<\/em> will outlast any such petty concerns.<\/p>\n \t\t\t\t\tGuillaume Marbeck in \u2018Nouvelle Vague.\u2019 <\/span><\/p>\n \t\t\t\t\t\t\t\t\tNetflix<\/p>\n \n\tOther than Deutch, who the filmmaker recruited for his 2016 comedy Everybody Wants Some!!,<\/em> everyone in the movie is a virtual unknown \u2014 though Marbeck will likely get a level-up the same way that Matthew McConaughey, Glen Powell and Jack Black did when they worked with Linklater. But for those with more than a passing familiarity of the French New Wave, the role calls of the key players is a pure rush. The movie introduces them and their mentors-slash-idols like Robert Bresson and Jean-Pierre Melville and Jean Cocteau with identifying disclaimers and portraits that have the actors portraying staring directly into the camera, as if it was fanning out a deck of MVP trading cards. For a certain sect of film nerds, this inspires the same feeling that comic-book readers got when the MCU finally gathered all of its main and deep-cut characters at the climax of Endgame<\/em> \u2014 this is our interconnected universe and these are our<\/em> superheroes. Cinemavengers, assemble!<\/p>\n \t\tTrending Stories<\/p>\n<\/h2>\n \t\tRelated Content<\/p>\n<\/h2>\n \n\tYet you don\u2019t need to have multiple Letterboxd accounts or have argued over which Rivette film ranks as his best (it\u2019s clearly Celine and Julie Go Boating,<\/em> why would anyone even have this debate at all?!) to appreciate, enjoy and swoon over the spell that Nouvelle Vague<\/em> casts. Linklater has made a variety of different types of films, from broad comedies (School of Rock<\/em>) to biopics (Blue Moon<\/em>) to animated sci-fi (A Scanner Darkly<\/em>). The Texas native even has a Western (The Newton Boys<\/em>) on his resume. His specialty, however, is the hangout movie, and with this look back at Godard & co., he\u2019s turned a pivotal moment in film history into a magnum opus of hanging out. \u201cFilming should only be done in a state of urgency and necessity,\u201d an elder statesman lectures. Yet so much of Marbeck\u2019s turn as the newbie auteur du jour <\/em>exudes a strong vibe that\u2019s best described as \u201ckickin\u2019 back, no big deal,\u201d down to the signature shoulder-slumped posture and louche way he plays pinball. These fanatics may die on many hills in terms of defending B movie directors, or declare that narrative is a bourgeois concept, or stick to their guns in terms of an editing style that reflects the film\u2019s \u201cimpatience.\u201d But they also enjoy each other\u2019s company, and dear God(ard), so do you. <\/p>\n \n\t\u201cThe best way to criticize a film is to make one,\u201d our hero notes, after seeing something that he declares a piece of shit. The best way to show your love for a work of art is to make a testament to its creation, even if such endeavors don\u2019t always hit bullseyes with every shot. The enfant terrible<\/em> of the French New Wave walked so Linklater and his ilk could run, and you can tell how much fun the now-veteran American filmmaker is having resurrecting not only the late, great Jean-Luc\u2019s puckishness but the anything-goes dynamic of his own beginnings. Godard\u2019s ode to American movies that required only a girl and a gun begat freak-flag-flying films like Slacker,<\/em> which begat Linklater\u2019s career, characterized by him following his own muse. Nouvelle Vague<\/em> is as much a testament to being young, idealistic and a cinephile \u2014 full of opinions, drunk on your own taste, and madly in love with the movies \u2014 as it is a making-of recounting. The Austin-based director sees not just a figurehead to emulate in the artist in late 1950s Paris but a reflection of a kindred spirit. Game recognizes game.<\/p>\n","protected":false},"excerpt":{"rendered":" All you need to make a movie is a girl and a gun. Cameras, actors, and locations help as well. Scripts are, of course, totally optional. What is really required, however, is passion and determination. Jean-Luc Godard has these qualities in abundance. It\u2019s 1959, and he\u2019s just watched his fellow-critic-slash-obsessive at the esteemed magazine Cahiers<\/p>\n","protected":false},"author":1,"featured_media":31761,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[54],"tags":[18443,2957,16997,18442,697,7575],"class_list":{"0":"post-31760","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-breathless","9":"tag-leave","10":"tag-linklaters","11":"tag-nouvelle","12":"tag-richard","13":"tag-vague"},"_links":{"self":[{"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=\/wp\/v2\/posts\/31760","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=31760"}],"version-history":[{"count":0,"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=\/wp\/v2\/posts\/31760\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=\/wp\/v2\/media\/31761"}],"wp:attachment":[{"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=31760"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=31760"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/naijaglobalnews.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=31760"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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