Richard Linklater's official summary New Wave Describe it as “Godda’s story Can't breathetelling in Goda's style and spirit Can't breathe.transparent

It's an attractive court, but it's also a bit cheating. Godard's 1960 film broke all kinds of narrative and styling conventions, wrote his own rules about what movies could do, and paved the way for modern films. Linklater's charming and well-researched tribute is more traditional: telling in a linear way, filmed with a large number of crew members, the actors look and act like the celebrities they are playing, relying on a lot of VFX shots to recreate Paris, a far cry from Godard's style. However, it’s an impressive job that captures the spirit of a man at work, highlighting the work that puts his groundbreaking films together, and usually takes nothing.

From his 1990 breakthrough, Linklater has been involved in various genres throughout his career, which is no stranger. Lazy Functions such as animation function Scanner dark or Awakening life;From Hollywood comedy Rock School Go to a project like this childhoodfilmed with the gradually older actors for more than ten years. The Houston-born director has been playing the film form – albeit in a way that follows a more classical storytelling – so it’s not entirely surprising that his process on Goddard is enough to make the entire film.

Full of relevant facts Can't breathe' Pre-made and chaotic 20-day shoot, by Who Who's guest star, New Wave member, New Wave Audiences who seem destined to know immediately what their title means. In other words, it's a movie that runs through the movie, which doesn't make much sense to anyone who hasn't seen the original movie. But it is also breeze and relatively entertaining, never taking yourself too seriously while highlighting the extremely serious moments in the history of film.

Linklater doesn't imitate Godard here, though he gives us a good idea of ​​what the director - the newcomer Guillaume Marbeck plays, who has an incredible similarity to the man himself - would have worked with that man. In short, Goddard was impossible, refusing to write a real script when he ran out of his ideas, disrespect the laws of film continuity and engaged in a boxing battle with his angry producer George de Beauregard (Brunodreyfürst).

However, he is also witty, wise, quite charming, and obsessed with doing things he has never done before. Opening New Wave Godard is just 30 years old and lags behind his compatriots Movie notebook Critics Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson), Jacques Rivette (Jonas Marmy) and Eric Rohmer (Côme Rohmer (Côme Thieulin), all of whom have directed their first feature. "The best way to criticize a movie is to make a movie," frustrating Goddard quips with one of the numerous JLG mottos, one of which plays a well-researched script (written by Holly Gent, Vince Palmo, Michèle Halberstadt and Laetitia Masson).

Riding on the pinnacle of the new wave after Truffaut's double success 400 strikes and Chabrol Beautiful SergeGodard managed to convince De Beauregard to support low-budget independent features (equivalent to $77,000 today) based on a news story about the gangster and his girlfriend. The director plays amateur boxer Jean-Paul Belmondo (another incredible similarity) as the leading actor, Hollywood star Jean Seberg (Zoey Deutch, convincing fish in the water) to play his American girlfriend. A skeleton crew member was assembled for the filming, including former war photographer Raoul Coutard (Matthieu Penchinat) and Crafty's assistant director Pierre Rissient (Benjamin Clery).

The rest New Wave Every day there is about Can't breathe Settings, which may surprise those who have never read the history of the movie. Since there is only one treatment (co-written with Truffaut), Godard appears as he advances, without a voice, so the actor can dubbed in the post office. Rarely do more than one or two willings, he prefers rushing sequences, improvising and suddenly stopping. Sometimes, actors and crews hang out at a café in Montparnasse all day, while Goddard portrays ideas about napkins.

Production Can't breathe It looks like a free time, that's what Deadpan Coutard and some other crew members think. The highly skeptical Seberg did his best to show it in all the chaos, and Belmondo just rolled his fist and had a great time. From day one, however, Goddard seemed to be what he thought and wanted - "Reality is not continuity!", and when she complained about the misplaced props, he grabbed the script girl (Pauline Belle) so much that he won most of the cast and crew.

It also helps him to be a funny guy who can joke and joke. Linklater cleverly focused on the lighter side of the director known in the heavy work sitting on the top of the Arthouse pyramid, when Godard is often half-pie and half-sliced ​​Philes-flash. This doesn't mean he will beat the importance of creating the first feature, even if he goes through setbacks, he focuses on the prize (“disappointment is temporary, and the film is forever”, he says with complete confidence). If you want to become a director, New WaveThis is Goddard had an idea about where he wanted to go, but he didn't know how he would get there. His openness to possibilities makes his film so primitive.

Linklater's films aren't as innovative as JLG's production, but it's not only a pivotal moment in the director's career, but also a pivotal moment in film history. And all the new Wave heavyweights, New Wave Make room for lesser-known characters, such as Rissient or Suzanne Schiffman (Jodie Ruth Forest), who co-wrote the script with Truffaut and Rivette. It highlights that the sport is not everywhere, but is rich in experience by a handful of experienced people from a handful of experienced people, Jean-Pierre Melville (Tom Novemberre), Roberto Rosselini (Laurent Mothe) and Robert Bresson (Aurélien Lien Lorgnier) (influences Godard and his Coohorts).

The study attributes David Chambille's real black and white photography to the 1959 action that looked like it was shot on the film stock. notebook Town offices and various cafes. As for the outside, it takes 300 photos to take a lot of VFX to get back to the times, especially for famous scenes Can't breathe This is a shot on the champions packed with championships.

It's an impressive package that certainly requires more money and manpower than Godard's first album, and ironically, the moral of the film is that it doesn't require a big budget and crew to make something great. Linklater celebrates JLG's boldness, even though he directs something more conventional (though his honor is great, he directs almost entirely in French).

if New Wave Not totally Can't breatheThis is a love for the crazy way Can't breathe Made- When you can shoot movies quickly, cheaply and out of control, and somehow change the cinema.