User reviews

Watched at the 2025 Toronto International Film Festival.

While it's sappy energy and charm doesn't fully resonate with me as I would have hoped for, Richard Linklater has crafted a solid homage tale about Jean-Luc Godard's masterpiece Breathless and the French New Wave era. Capturing the essence of it's time period, production designs, style and the atmosphere perfectly of how Godard writes and approaches.

What I really appreciate about this movie is that Linklater approaches the editing, direction, atmosphere and writing just like Godard, being able to capture his style and atmosphere perfectly that feels respectful and interesting. With the production designs, sound and dialogue being great, it's homage and approach feels purposeful without feeling as if it was an Oscar Bait movie. Alongside with the good uses of black and white camera work, structure and fiction and non-fiction style approach.

The performances are pretty good as the cast were able to offer a good light to once well known actors and directors that existed. Although, there were a few performances, particularly Zoey Detuch, while good, at times some of the emotions and style felt weirdly off. Alongside with some of the pacing and the writing that definitely needs to some working.

Overall, another good movie from Richard Linklater.

I watched this movie for in a field trip and I loved the retro french film vibe. There were some parts in the movie where I got quite bored and there were some confusing moments but I ended up liking it a lot in the end. The cast is great and the camera quality is one of the best i've ever seen in any movie and im being so serious.

This movie is a joyride to experience the not-so-joyful process of filmmaking as well as a good homage to the legend and one of the greatest times in cinema history. I think it's done so perfectly that I almost give it 5 stars.

Linklater's signature mise-en-scène is here, but this film feels less personal and more intimately observational. I went in expecting a Midnight in Paris vibe, and I couldn't have been more wrong. I'm struck by Linklater's choice of a new approach, especially from a director known for an almost obsessive realism-like shooting Boyhood over 12 years or Merrily We Roll Along for two decades. Zoey Deutch, who plays Jean Seberg, told us that Linklater encouraged the actors to interpret rather than impersonate. The result is a film that feels remarkably authentic and free, because it all comes from the genuine experiences of the crew. As Linklater himself said, "It's about a bunch of young people making a film." This is a movie that any filmmaker or cinephile will absolutely adore.

(There is a line from the movie that I really LOVE and it goes like this - "when you direct a film, you are actually making 5 films: one when you write it, one when you cast it, one when you shoot it, one when you release it." The closest thing I found is from Robert Bresson: "A film is born three times. First in the writing of the script, then in the shooting, and finally in the editing". I need to print it out and put it above my desk.)

Greetings again from the darkness. Like most who obsess over cinema, I went through my French New Wave phase. Actually, binge is likely more accurate since the phase has yet to end. I'll always make time for Truffaut, Godard, Chabrol, Rohmer, Varda, and Demy. American director Richard Linklater clearly shares this fondness as he releases this homage on the heels of BLUE MOON, his other superb 2025 release. Co-writers on this film are Holly Gent, Laetitia Masson, Vincent Palmo Jr, and Michele Petin ... two of whom have previous collaborations with Linklater.

While Linklater shows us the many faces and names of those behind the movement, most of this story focuses on Jean Luc Godard and his quest to make BREATHLESS (1960). Godard is played by relative newcomer Guillaume Marbeck and the trademark sunglasses. Godard is a film critic turned writer turned director. In fact, we hear him repeat, "I have to direct", seeing as his goal to direct his first feature by age 25 has already been missed. He talks reluctant and skittish producer Georges de Beauregard (Bruno Dreyfurst) into financing the film by claiming Francois Truffaut (Adrien Rouyard) and Claude Chabrol (Antoine Besson) had co-written the script. Both men had successful films under their belts with THE 400 BLOWS and LE BEAU SERGE, respectively, so the producer viewed his risk as minimal.

Already a star at age 21, Jean Seberg (a terrific Zoey Deutch) finally agrees to join the cast, as does amateur boxer and new actor Jean-Paul Belmondo (Aubry Dullin). Linklater does a nice job in recreating the haphazard manner in which Godard worked. Of course, there was no script ... other than what he wrote each morning over breakfast. He was after spontaneity, and this caused a clash with Seberg. Much of how he worked would be considered guerilla filmmaking, and it's interesting to see how the cast and crew react to Godard's 'genius'.

Along with the music, Linklater and cinematographer David Chambille capture the authentic look and feel, and it serves as a tribute to the era, including ever-present cigarettes. The French New Wave, and especially Godard, offered a new vision for cinema. Their impact on future filmmakers cannot be overstated, and Linklater's passion for the movement for cinema is obvious. He surely hopes the film inspires others to explore the revolutionists from the Wave that shook the foundation of cinema ... even if "it's no CITIZEN KANE". Just keep in mind what Godard says, "All you need for a movie is a girl and a gun."

Releasing on Netflix on November 14, 2025.

As "Nouvelle Vague" (2025 release from France; 106 min.) opens, Jean-Luc Godard, Francois Truffaut and Claude Chabrol are watching a movie in a theater. Afterwards they meet up with friends somewhere. It turns out that Godard is the only one of the three still to direct his first movie, but he claims that he is ready to do so. At this point we are 10 minutes into the movie...

Couple of comments: this is the latest from director Richard Linklater ("Boyhood", "Everybody Wants Some!!"). Here he goes to France to recreate how Godard filmed his 1960 debut film "Breathless", and Linklater does so by using the New Wave style of filming that came in vogue 65 years ago. The idea is as simple as it is brilliant. The devil is of course in the details, and that is where the production team really shines. I couldn't stop marveling at how authentic Paris circa 1959-1960 looks. Check out the countless vintage cars! Oh, and did I mention that the film is in glorious B&W, and with a screen ratio of 4:3? Just like "Breathless" itself. The acting performances are stellar throughout, including Guillaume Marbeck as Godard and Aubry Dullin as Belmondo. But the highest praise belongs to Zoey Deutch, playing Jean Seberg, the American actress based in Paris. Deutch captures it perfectly. They act out a number of pivotal scenes of "Breathless" but always showing it as someone observing it, not in it. If it sounds like I'm gushing about "Nouvelle Vague", well it's because I am!

"Nouvelle Vague" premiered at this year's Cannes Film Festival to immediate and wide critical acclaim. The Cannes screening caused a bidding war for the movie's distribution rights (ultimately won by Netflix). The movie is currently rated 90% Certified Fresh on Rotten Tomatoes, and it's easy to see why. "Nouvelle Vage" started streaming on Netflix this weekend, and I couldn't wait to see it. If you are a fan of Richard Linklater's or Zoey Deutch's earlier work, or simply a fan of French movies from the early 1960's, I'd readily suggest you check this out and draw your own conclusion. You won't regret it!

Nouvelle Vague (2025) is a comedy drama movie directed by Richard Linklater and it follows the shooting of Breathless, one of the first feature movies of the Nouvelle Vague era of French cinema, in 1959. I just got done watching this movie on Netflix and it was fantastic.

Positives for Nouvelle Vague (2025): It was awesome to watch a movie about the making of a French movie from 1959. The black-and-white cinematography gives this movie that old school filmmaking style that I love about old cinema. The acting from the cast is fantastic and their dialogue is equally great. The pacing of the movie is great and I was able to mostly keep up with the story. The movie has amazing production value with the sets and costumes. And finally, this is one of those movies that was made for fans of older movies from the early 1900s.

Negatives for Nouvelle Vague (2025): My only issue is the language barrier as I don't speak French and it made it hard for me to keep up with the movie at times.

Overall, Nouvelle Vague (2025) is a fantastic movie from Richard Linklater who still has one of the most consistent filmography of any filmmaker and that makes me happy.

From the very first moments of Nouvelle Vague, I found myself grinning uncontrollably - even giggling out of sheer excitement. It's been years since a movie made me feel this alive, this inspired. Richard Linklater's film doesn't just pay homage to the French New Wave - it somehow becomes it.

The illusion is extraordinary. Every frame looks and feels as if it were shot in 1959, unearthed decades later from a film archive no one knew existed. The grain, the lighting, the movement of the camera - all of it feels so authentic that it plays tricks on your mind. You start to forget you're watching a modern film. I have no idea what combination of lenses, filters, or post-production alchemy was used to achieve this effect, but the result is breathtaking. It's as if Linklater and his team managed to fold time itself back into celluloid.

The sound design and editing are equally meticulous. The ambient hiss, the slightly imperfect cuts, even the rhythm of the dialogue - everything contributes to the illusion of watching something real from another era. And yet, despite all that stylistic precision, the film feels effortless, full of spontaneity and warmth.

The cast is simply perfect. Each actor inhabits their role with such natural grace that you believe these are real people caught in the birth of a cinematic revolution. They don't parody Godard or Truffaut; they channel the restless curiosity and romanticism that defined that generation of filmmakers.

What surprised me most is how emotional it all felt. Beneath the technical mastery, there's genuine affection - not just for the aesthetics of the French New Wave, but for the creative spirit behind it: that fearless desire to experiment, to risk failure in pursuit of something true.

I haven't seen Godard's Breathless in years, but now I can't wait to revisit it. Nouvelle Vague rekindled that same hunger - the need to rediscover where modern cinema came from, and why it still matters.

When the credits rolled, I just sat there, buzzing with energy. I wanted to pick up a camera and go shoot a movie, make something! That's the best compliment I can give a film: it doesn't end when the screen goes dark - it sends you back into the world wanting to create.

I'm already planning to see it again on the big screen. This might honestly be my favorite Richard Linklater film - a love letter to cinema so convincing, so joyful, that it feels like it's been waiting sixty years just to inspire us all over again.

This monochromatic 2025 period piece is a cinephile's wet dream of a film from an obvious cineaste, but there's enough energy and craftsmanship here to attract the more casual viewer. A true renaissance man, director Richard Linklater just released "Blue Moon", his evocative WWII-era valentine to the creative titans of Broadway. With this film, he showcases his in-depth knowledge of the mid-century French New Wave movement, in particular, the making of Jean-Luc Godard's seminal debut, 1960's "Breathless" ("A Bout de Soufflé"). The film features relatively unknown actors portraying legendary cinema figures such as Roberto Rossellini, Francois Truffaut, and Jean-Pierre Melville. At the center of the screenplay by Holly Gent and Vince Palmo is Godard, a film critic determined to become a filmmaker. As effectively portrayed by Guillaume Marbeck, Godard is an arrogant disruptor who recruits two young actors, Jean-Paul Belmondo and Jean Seberg, to star as a boastful petty criminal and the American student who is smitten with him. Aubry Dillon is a dead ringer for the charismatic Belmondo, while Zoey Deutch in an accurate pixie cut captures Seberg's fierce reticence during the production. If you've not seen "Breathless", you might have trouble tracking the story being told, but that confusion was part of the appeal of the original movie. Linklater knows that and runs with it in this stylish homage.

Time would be better spent to watch "breathless' again.

I can't figure out what's the point of this exercise. It's not original or creative by any means, the actors do their best but at the same time fail miserably - or let's say the director / writer fails miserable. It's a film school exercise at best. Is it an ode to Godard, but I'd imagine he'd say, thank you, but leave me out of this.

First off, I'm one of the Godard detractors who consider him the most overrated film maker of all time. This is by no means a solitary view and the weaknesses of "Breathless" were pointed out by many ever since it came out - the absence of story, gimmicks over substance, JLG not giving his actors anything to do, JLG celebrating his own genius while copying the works of others etc., etc.

But even for those who don't like the man and his work, "Nouvelle Vague" could be an interesting experiment - an American film maker presenting his own interpretation of the birth of a movement he obviously views as imperative for his own work. However, Linklater is much too reverent, recreating dialogues which enforce the image a rebellious artists, without explaining where the rebellion is supposed to be. We see Melville and Bresson at work, but instead of working with the fact of "Pickpocket" being filmed at the same time as "Breathless", there is just a little existentialist dialogue, and no discussion of challenges to the studio system.

Within the parade of creators, there is one conspicuous absence - Louis Malle, who (re)invented the techniques of the Nouvelle Vague (like shooting with natural light), but had nothing to do with "Cahiers du Cinema". "Breathless", to put it politely, borrows quite heavily from "Elevator to the Gallows" (1958), and it is a bit strange of Linklater to omit this. He also presents Agnès Varda as a butch Lesbian, which she was not - she had a son with Jacques Demy. Varda is also more and more considered the real founding mother of the Nouvelle Vague (since "La Pointe Courte" came out in 1955), so it feels a little dated to brush her off this way.

What must strike a cineast off most is the treatment of Jean Seberg, who comes across as intelligent, but whose life is only mentioned in passing. Her marriage was at that point falling apart, and right after filming of "Breathless" she met Romain Gary. Not part of this story, but her career and how it was ended by J. The FBI for her support of the Panthers, would make for a far more interesting film than this homage.

"Nouvelle Vague" is a decent interpretation, an American's dream of Paris in the late 1950s, but it's too polite and too reserved, especially for Linklater.

Love this movie. So captures the style of the French New Wave. But a little tongue in cheek. It helps if you are already familiar with the style, especially that of Godard. If you haven't seen Breathless, watch it first and then watch this soon after. Absolutely delightful. Can't wait to watch it again!

I was bouncing back and forth between a 3.5/5 or a 4/5. I think I'd lean toward the latter if I had to pick, but on a 10-point scale, maybe a 7.5/10. Nouvelle Vague seems all very simple, and feels effortless, but then the craft here feels meticulous. It puts a lot of work into feeling loose and spontaneous, which is fitting when it's about such a loose and spontaneous movie. Nouvelle Vague tricks you into thinking Linklater and co. Are winging it, but this would've been tremendously difficult to make so authentically. All the recreated locations and the way it was shot... all perfect, like they went back in time to film this in 1960. The casting here is immense, and I particularly really forgot it was an actor playing Godard after a couple of scenes. The frame Aubry Dullin appears, I was shocked it wasn't actually Belmondo, because the appearance is uncanny. And then Belmondo is actually embodied beyond the physical resemblance, and I think the same mostly went for Zoey Deutch as Jean Seberg.

The casting and acting for the three leads were remarkable, and I was somewhat familiar with a few of the other side players (definitely not all, and I think you'd have to be super familiar with the French New Wave to know them all), but the casting was on point there, too. If 2026 is the first year they give out a Best Casting award at the Oscars, Nouvelle Vague is a shoo-in nomination.

Narratively and thematically, it isn't much more than a homage, or an excuse for Richard Linklater to show his appreciation for Godard, Breathless, and the French New Wave, but I enjoyed the craft here enough so that it was more than just charming. It shines on a technical front while also being pretty entertaining. I would've loved more time spent on the post-production of Breathless, and maybe a few scenes showing more of its release and the aftermath, but then again, Nouvelle Vague finishing a little abruptly (and with Godard still kind of being a jerk, albeit a jerk who'd proven he *probably* knew what he was doing) feels very New Wave, so maybe that potential weakness is actually a strength.

But Linklater's still got it. He is just pumping out constant good (and sometimes great) movies, like one every year or two. He's a bit underappreciated, really.

NOUVELLE VAGUE (2025) Richard Linklater's valentine to the French New Wave and Jean-Luc Godard's 1959 classic BREATHLESS in particular, is a balm for the soul of cinefiles. Shooting in 35mm Black & White (complete with old fashioned cigarette burn reel changes), Linklater, Cinematographer David Chambille and crew do a lovely job recreating turn of the decade France.

Linklater and his screenwriters follow the film from conception to filming to completion. The genesis of the movement is the staff of the monumentally influential Cahiers du Cinema magazine. Several had already gone on to make films including Francois Truffuat, Eric Rohmer, Claude Chabrol and Jacques Rivette (all are featured here). The enfant terrible of the crowd, Godard (played by Guillaume Marbeck), has made shorts, but no features - and, it's eating him up; Particularly in the wake of his friend and collaborator Truffuat's (Adrien Rouyard) 400 BLOWS being such a success. Godard picks a story outline that Truffuat and Chabrol (Antoine Besson) had co-written as the seed that would turn into BREATHLESS. There's a glorious scene of Truffuat and Godard hashing out story ideas in the Paris underground Metro.

With so many historical cinema figures cited, Linklater uses a technique of naming each character with a subtitle and a 'staged' cut-a-way shot of each. It may strike some as an affectation, but it works here. The film is also framed in the traditional academy ratio of 1:37 to complete the effect (not to mention the old school white lettered subtitles). Godard's buddy Jean Paul Belmondo (an uncannily accurate Aubry Dullan) is tapped to play the lead. Jean Seberg enters as the American femme fatale (a captivating Zoey Deutch).

Linklater does well in capturing the seemingly improvised and innovative filmmaking which Godard was famous for. Godard may be portrayed as off the cuff, but Linklater demonstrates how it's not just spur of the moment - the Director was so immersed in cinema that it literally spills out of his pores. His very being. Linklater's own love of the medium shines through. It's not difficult to trace his own roots in the American indie movement of the 80s and 90s with that of the French New Wave. Along with Steven Soderbergh, Spike Lee, John Sayles, Susan Seidelman, Jim Jarmusch etc., Linklater helped define his era.

One irony here is that NOUVELLE VAGUE is, in some ways, Linklater's own DAY FOR NIGHT, the love letter to cinema that Truffuat made in the mid-70s. The bitter irony here is that Godard hated that film and sent a long letter to his friend and colaborator Truffuat telling him so. Truffuat retorted with a 20 page letter of his own. It is said that they never spoke again.

NOUVELLE VAGUE is certainly primed mainly for cineastes, but Linlater's film isn't merely a paen to the French New Wave, it's also a reflection of his own period in indie film history up until the present - and, hopefully, an inspiration for future filmmakers no matter what land they may live in*.

* Roberto Rosselini and the Italian Neo-Realist movement are looked upon as partron saints of the New Wave.

Landmark moments in virtually every area of endeavor are worthy of, and frequently celebrated in, films that applaud the significance of these accomplishments, and that even includes groundbreaking developments in moviemaking. These cinematic commemorations are generally imbued with a sense of respectful reverence regarding their subject matter, recognition befitting such achievements. However, the latest offering from director Richard Linklater presents a puzzle on that front, given that it incorporates a pervasive degree of ambiguity that may leave viewers scratching their heads, despite the undeniable excellence of the picture itself. In 1959, as the French New Wave filmmaking movement was beginning to find its stride through the works of new directors like François Truffaut (Adrien Rouyard) and Claude Chabrol (Antoine Besson), another new aspiring talent, Jean-Luc Godard (Guillaume Marbeck), a longtime, decidedly restless movie critic at the magazine Cahiers du Cinéma, began work on his first project, "Breathless," the story of a thief on the run and his relationship with a young American woman in Paris. The film would star Jean-Paul Belmondo (Aubry Dullin), a longtime friend of Godard and newcomer to the business, and Jean Seberg (Zoey Deutch), a rapidly rising star in Hollywood circles. Like other New Wave offerings, the production featured innovative filming techniques, new approaches to storytelling, and alternative, sometimes edgy content compared to conventional works of French cinema. However, in the interest of experimenting with the untried, Godard took these principles to an extreme, working without a script, not informing his cast of what was being asked of them, making minimal use of rehearsal and shooting time, and abandoning many of the accepted standards of traditional filmmaking. Needless to say, this way of working frustrated his stars, as well as his producer, Georges de Beauregard (Bruno Dreyfürst), who envisioned his investment evaporating before his eyes amidst the relentless chaos on the set of this shoot. Yet, when offered suggestions or given orders on how to proceed, Godard would not be moved, insisting that his improvisations and spontaneity were essential to the creation of this project. In telling Godard's story, Linklater masterfully taps into the rampant disorder on the set, depicting the filmmaking as an unfolding trainwreck, frequently commented upon by Godard with vacuous, stream of consciousness observations and justifications about how and why things were transpiring as they did. Yet, as history has since shown, "Breathless" went down as a groundbreaking work of cinema in the French New Wave, inspiring innovations that would subsequently make their way into the art of filmmaking, influences that have lasted to this day. But, based on this offering, one might readily develop doubts. Indeed, is "Nouvelle Vague" intended as homage or parody? Good cases could be made for either argument. (In the interest of full disclosure, I'm not an especially huge fan of "Breathless"; while it may have been inventive in some ways for the time it was made, it comes across today as terribly dated, perhaps even pretentious, despite the influence it had on many other New Wave releases that came along in later years.) Nevertheless, whatever impression one might ultimately take away from this film, it's undeniably an impressive work, beautifully filmed in gorgeous black and white, with fine performances by the ensemble, an excellent period piece production design, super cool costuming (right down to Godard's ever-present sunglasses), a smooth, sophisticated jazz soundtrack, and utterly hilarious yet understated writing. Admittedly, this one is unlikely to appeal to anyone other than diehard cinephiles and those intimately familiar with "Breathless" and its cast and crew, but those in the know on these subjects are sure to enjoy this release immensely as one of 2025's best films and, arguably, one of Linklater's most noteworthy projects. Think of it as a love letter with a serious, tongue-in-cheek funny bone, and you've got an idea what this one is all about. This Netflix offering may not leave you breathless, but it will likely leave you vastly entertained.

Last time I watched "Breathless," I enjoyed it and thought how there must be an interesting story behind the making of the movie and that someone should make it. A few days later, to my delight, I discovered a trailer for a movie that was just about that. I eagerly awaited the next few months and finally saw the movie.

I was delighted. Linklater did a marvelous job of not just telling the story but recreating the time period. In fact, it was so convincing that he might as well have used the time machine to go back to the beginning of the 1960s and filmed it there and then. In my book, Linklater just became one of the top masters of the cinema.

So thank you, Richard Linklater, for this delightful gift.

Exquisite and wonderful homage from Linklater to the starts of the well-known French film movement and Godard's characteristic vision.

The research work is remarkable and it translates to an impeccable script. The acting ensemble of overwhelming similarities, the dialogues, the direction and the editing seem to have come straight out of the Nouvelle Vague, creating a sensation of traveling back in time to be part of the history of cinema, the filming of an important film, of an era and a way of making films.

Ode to cinema, to the incessant movement of images and to a style.

Fantastic.

In 2025 Richard Linklater released two exceptional works: Nouvelle Vague and Blue Moon. Both films are filled with Easter eggs, offering extra enjoyment for audiences who love cinema and the arts. The former is a French black-and-white film set in the late 1950s, revolving around several months of a filmmaking process. Mostly shot on location in France, it tells the story of the sudden rise of a cinematic genius.

Nouvelle Vague portrays the making of Jean-Luc Godard's Breathless, with Guillaume Marbeck playing Godard, transporting cinephiles back to the moment when the French New Wave was born. At that time, many of Godard's Cahiers du Cinéma colleagues Truffaut, Chabrol, etc., had already completed their debut films. The story begins when Truffaut brings The 400 Blows to a film festival, drawing the attention of the film criticism world toward Godard, who was known for his penetrating views and who believed that a true film critic should make a film themselves. Everyone was curious (and somewhat nervous) about what kind of film this critic-turned-director would make. In the end, this genius repeatedly broke rules and conventions, endlessly and joyfully.

What he subverted was not only cinematic language itself (everyone knows Breathless is full of jump cuts and improvisation), but also the filmmaking process. Godard constantly disrupted the production schedule, creating entirely according to his inspiration of the day. This left the female lead, the American actress Jean Seberg (played by Zoey Deutch, perfectly cast), rather confused. But her co-star, the debuting actor who would later become a major screen icon, Jean-Paul Belmondo (played by Aubry Dullin), seemed to enjoy the experience and threw himself into the filming. Sparks flew constantly among the three of them during production, of course with other crew members (including the assistant director, cinematographer, makeup, etc.) always present on set. They simply let Godard manipulate everything in his seemingly chaotic way: sometimes asking actors to stage little improvisational plays, other times sending them wandering aimlessly through the streets just to capture the atmosphere. When filming wrapped, Seberg half-jokingly told her manager she would never work with Godard again.

Yet Linklater precisely highlights Godard's brilliance through the constant capturing of those flashes of inspiration during the creative process, as well as the invaluable spirit of the entire French New Wave.

**Title: A Warm, Engaging Tribute to the Spirit of Filmmaking**

Richard Linklater's *Nouvelle Vague* is a quietly captivating delight-one of those rare films that welcomes you in, regardless of how much you know about French New Wave cinema. I've already watched it twice, simply because it's such an inviting and wonderfully crafted experience.

What makes the film so engaging is how effortlessly it draws you into the chaotic, charming, and often humorous process behind the making of *Breathless*. Following the crew as the project takes shape is not only entertaining but also surprisingly moving. You get a vivid sense of the camaraderie, the tensions, and the creative sparks that made this historical moment so influential.

The cast is remarkable across the board. Bruno Dreyfürst as the producer, Benjamin Cléry as the assistant director, Matthieu Penchinat as the cinematographer, and Jade PhanGia as the makeup artist each deliver performances that feel grounded and full of personality. They don't just resemble their real-life counterparts-they bring them to life with an authenticity that feels effortless.

The portrayals of Godard, Seberg, and Belmondo are especially striking. They're shown not as distant icons but as real people with insecurities, ambitions, and quirks. This human approach gives the film a refreshing warmth and makes it far more relatable than a typical biographical piece.

Overall, *Nouvelle Vague* is a film that leaves you smiling-an easygoing, charming watch that balances historical detail with heartfelt storytelling. It's perfect for an evening with friends or even with co-workers who enjoy a well-crafted, character-driven film.