Exploring the Essence of Cinema
Raceless, deathless…and perhaps a bit meaningless? This drama resonates with the unique style of Richard Linklater, reminiscent of his refined tastes. It dives into the making of his debut from the 1960 classic, “De Suful.” Presented with French credits and shot beautifully in black and white, there’s a stark contrast to the mundane colors of reality where the story unfolds. What’s interesting is a quirky detail—Linklater adds a small cue on the corner of the screen, reminiscent of his past to signal when to change the film reel. He manages to sidestep jarring jump cuts along the way.
It’s an intelligent and character-driven piece. It feels like, if Godard were still around, he might have found something unique to appreciate in Linklater’s work. There was a time when Michel Hazanavicius received criticism for referring to Godard’s celebrated 1967 film “Lachinoise” as a “silly and stupid idea,” which is fascinating given that Hazanavicius hadn’t even tackled Godard’s major breakout film.
Linklater, whether intentionally or not, crafts a stylistic homage not to Godard directly, but more towards his accessible, Hollywood-friendly collaborator, François Truffaut. It’s Truffaut’s foundational story of “Breathless,” which turned out to be a huge commercial success, that set the stage. The narrative itself revolves around a tough character involved in a sensational crime—one that includes shooting police and fleeing alongside his American girlfriend.
The rich storyline highlights an array of real-life figures, from the most recognizable to those less known. The latter gets their due respect, portrayed through static portrait shots, gazing earnestly at the camera while their names light up the screen. Even during the interactions, characters are often referred to by their full names, emphasizing their significance so we can keep track of the narrative.
In a standout performance, Godard’s desire to transition to filmmaking is vividly portrayed by newcomer Guillaume Marbeck. He delivers clever quips while casting a casual shrug regarding the film’s themes. Linklater brings a playful touch to the narrative, leaving viewers questioning if Godard might have an “a-ha!” moment by taking off his sunglasses, at least acknowledging that perhaps watching through dark glasses isn’t ideal for this particular film. Aubrey Dillon portrays Belmond, with Zoe Deutic taking on Seberg, establishing a French backdrop amidst Ohio’s forever influences. Adrien Louyard embodies Truffaut, and Matieu Penkinat shines as the cinematographer Raul Koutard. The events unravel against a backdrop of news reporting, intertwining with Godard’s avant-garde filmmaking approach, featuring tensions and disagreements over finances, leading to a memorable clash at a Parisian café.
As the narrative unfolds, there’s a flow enhanced by the director’s whimsical delays—an effort to capture genuine inspiration. Despite all, there’s a sense of tension between the cast and the demanding director as the camera rolls. Suzon Faye (played by Paulin Bell) illustrates a backstage struggle regarding continuity and shot alignment, hinting at the evolving film grammar that Linklater subtly acknowledges isn’t solely Godard’s invention.
Ultimately, Linklater’s interpretation of Godard presents a layered character—one who isn’t just driven but also grapples with the competitive nature of success alongside Truffaut’s “The 400 Blows” at Cannes, all while trying to navigate the intricate web of set life and social dynamics. It feels a bit too polished at times, perhaps glossing over some raw edges, yet it portrays historical moments with an undeniable fluidity.
In conclusion, “Nouvelle” was showcased at the Cannes Film Festival.
