Nouvelle Vague

Breathless Movie

The legacy of the French New Wave looms large over modern film history, yet its legacy is decidedly messy, one that refuses to fit comfortably within one stable tradition or definition. The movement became popular alongside the rise of European art cinema during the late 1950s and early 1960s, yet many of its films preferred playfully anarchistic pastiche over a reverent approach to cinematic modernism. Unlike other European postwar filmmaking traditions, the French New Wave both loved and hated Hollywood filmmaking, with its members ranging from the political dissidence of Jean-Luc Godard’s work after 1965 to the cheeky MGM-invoking festivals of radiance that were Jacques Demy’s 1960s musicals. And there were as many, if not more, consequential French filmmakers only tangentially associated with the New Wave as there were decidedly within it, with Alain Resnais and Louis Malle’s late 1950s work often awkwardly placed as its inciting texts. The French New Wave was a school without formal rules, without clear qualifications for induction, and without an interest in legibly framing its own legacy – its criteria required seemingly little else than a distinct expression of difference from what’s come before. But beyond the intellectual and artistic changes the French New Wave brought upon the greater cinematic landscape, no contribution of the movement is more apparent than the term New Wave itself, a term that both reinforces and confuses the French New Wave’s legacy each time it’s applied. And while “New Wave” might be a useful shorthand for recognizing significant shifts in filmmaking style […]


Criterion Files

Much of Jean-Luc Godard’s cinematic output is inaccessible to American audiences. His most prolific period, the 1960s (in which he made 18 feature films) is almost entirely available, due in no small part to the Criterion Collection’s well-justified infatuation with the cineaste’s important and influential work. The output of much of his later career, however, isn’t commercially accessible in the US including much-lauded work like Nouvelle Vague (1990) and the Histoire(s) du Cinema entries (1988-98). In fact, Tout va Bien (1972 – his most recent title included in the Collection) is to my knowledge the only film he made in the 1970s that’s available on Region 1 DVD. This is all to say that here in the US, what we know of Godard we know mostly the first decade of his career. While it’s unfortunate that cinephiles have minimal access to his later work, this complaint is not meant to undervalue the importance of the work he did in the 1960s. Godard made an unbelievable amount of brilliant and challenging work in an astoundingly short amount of time, and by 1970 he had emerged as a different kind of filmmaker altogether. Godard’s 1960s work is, in a sense, the only logical starting point in order to approach an understanding of this later work. Godard’s films are an ongoing exercise in personal growth, aesthetic experimentation, and political criticism. Each work builds off of what came before. With this weekend’s US release of Godard’s most recent work, Film Socialisme, the gaps in […]

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published: 12.23.2014
published: 12.22.2014
published: 12.19.2014

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