Richard Linklater’s 2025 success is defined largely by his work with longtime actor and co-worker Ethan Hawke in his film Blue Moon, getting nominated for two separate Golden Globes to kick off award season. What the film world seems to be overlooking is his third nomination of the season coming from a separate film entirely in his biopic surrounding the making of perhaps the most famous French New Wave film, Breathless. While spending time in Austin for the Austin Film Festival, I took a moment to escape from the downtown area, and take the invitation opportunity to attend the premiere for Nouvelle Vague at Richard Linklater’s own Austin Film Society Theater. Hearing the anecdotes from the cast and director really illuminates that the film is truly a looking glass into the environment and creative ecosystem that made this cinematic revolution possible.
Rather than functioning as a simple behind-the-scenes dramatization, Linklater’s film positions the New Wave as a turning point in global filmmaking practice. He recreates the circles of criticism, collaboration, and friendly rivalry that formed around Cahiers du Cinéma, treating figures like Godard, Truffaut, Chabrol, Rohmer, and Rivette not as mythic auteurs but as young artists testing theories in real time. The film becomes an accessible introduction to how ideas about jump cuts, location shooting, non-professional actors, and documentary-style immediacy moved from essays to the streets of Paris and ultimately onto the screen
Nouvelle Vague’s strongest asset is its meticulous inclusion of real historical touchpoints, moments that help viewers understand how wide-ranging and experimental the movement truly was. Linklater incorporates references to contemporaries like Robert Bresson, whose approach to performance and minimalism influenced several New Wave directors. Even the anecdote about Bresson inviting a real pickpocket onto the set of Pickpocket becomes, in Linklater’s hands, a demonstration of how the New Wave blurred fiction and reality in pursuit of authenticity. Perhaps the best example of this in the film is from Jean Luc Godard himself, as he guides the actors through the unorthodox approach to no script authentic acting, varying drastically on a daily basis. The film highlights the struggle Godard has with his actors following along this unorthodox processes in the making of Breathless, as it is his first time establishing himself as a successful filmmaker.
While longtime admirers of Jean-Luc Godard and the New Wave will undoubtedly catch dozens of references scattered throughout the film, Nouvelle Vague also works on a broader educational level. It conveys why Breathless mattered formally, its editing, spontaneity, rejection of traditional narrative grammar, and why the film’s making has been studied for decades. More importantly, Linklater uses this story to highlight the broader cultural and philosophical debates that shaped postwar French cinema: What should films look like? Who are they for? How does one create a new cinematic identity out of the ruins of an old one?
In this way, Nouvelle Vague becomes not just a celebration of a beloved movement but an entry point for understanding how artistic revolutions happen, and what the French New Wave looked liked. For new viewers this film may not shine as it is intended and slip through the cracks of Netflix releases, however for students of film history or cinephiles familiar only with the movement’s most iconic titles, Linklater offers a clear, engaging, and surprisingly comprehensive portrait of how Jean Luc Godard reshaped world cinema simply by daring to make the films the way he wanted to make them. Highly Recommended.
How can educators and film instructors make meaningful use of Nouvelle Vague in their teaching?
Nouvelle Vague offers a clear and engaging introduction to the French New Wave, making it a valuable tool for educators teaching film history, directing, editing, or modernist cinema. Linklater’s focus on the creative circles around Cahiers du Cinéma, along with his detailed depiction of Godard’s unconventional working methods, gives students a vivid sense of how theory and practice merged during this period. The film highlights key formal innovations, such as jump cuts and improvisational performance, while also exploring the broader cultural debates that shaped postwar French filmmaking. For instructors, it provides a strong narrative framework to spark discussion about how artistic revolutions develop and why Breathless remains central to understanding global cinema.
Is this biographical dramedy a good fit for campus or community screenings?
Yes. Nouvelle Vague is well suited for screenings that aim to spark discussion about cinematic innovation and artistic experimentation. Linklater’s approach makes the film engaging for both seasoned cinephiles and students encountering the New Wave for the first time, offering clear explanations of why Breathless was groundbreaking and how its creators challenged conventional filmmaking. For campus use, the film can anchor conversations in film history, directing methods, and the evolution of narrative form. Community screenings will benefit from its approachable tone and recognizable cultural legacy, especially when paired with a post-screening discussion or a showing of Breathless itself. The film encourages viewers to consider how creative revolutions emerge, making it a strong programming choice for libraries and educational institutions.
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