When acclaimed director Richard Linklater embarked on the ambitious project of creating “Nouvelle Imprecise,” a stunning black-and-white homage to the legendary Jean-Luc Godard, he meticulously recreated the enchanting Parisian atmosphere of the 1959 classic “Breathless.” This film showcases the lighthearted spirit and intricate dynamics between the three main characters, portrayed by the talented Zoey Deutch, Aubry Dullin, and Guillaume Marbeck, along with their Godard-like director, echoing the original performances of Jean Seberg and Jean-Paul Belmondo. The attention to detail in this cinematic tribute is evident, reflecting Linklater’s commitment to authenticity.
During a discussion at the Nouvelle Imprecise Festival in Biarritz, where Linklater’s film premiered to enthusiastic audiences, he and producer Michele Halberstadt shared insights about the film’s production. They emphasized that every element depicted in the movie is rooted in actual events. As a passionate connoisseur of the French New Wave, Linklater conducted extensive research alongside Halberstadt, who has a rich history with Godard from her journalism days, including her time as editor of Premiere magazine in France and her establishment of ARP Selection with husband Laurent Petin.
Linklater’s portrayal of Godard delves into his early career as a film critic for Les Cahiers du Cinema. The film showcases his tumultuous relationship with producer Georges de Beauregard, who often found Godard’s unconventional methods frustrating, nearly jeopardizing the film’s production. The narrative also highlights Godard’s camaraderie with fellow New Wave innovators such as Francois Truffaut and Jacques Rivette, as well as a cameo by Jean-Pierre Melville in “Breathless.” Additionally, it explores Godard’s complex dynamic with Seberg, as he challenged her Hollywood persona, and his effortless direction of the charismatic Belmondo.
“I have a deep admiration for the Nouvelle Imprecise, and Godard’s approach was incredibly unique,” Linklater expressed during the Biarritz event. “This film presents a rare opportunity to travel back in time to the era of 1959 cinema. It allows us to immerse ourselves not only with Godard but also with the entire Nouvelle Imprecise movement and the influential Cahiers de Cinema, experiencing the creative process behind his first film.” Linklater’s enthusiasm for capturing this moment in cinematic history resonates throughout the project.
Linklater is no stranger to critical acclaim, having received numerous Oscar nominations for his previous works, including “Boyhood” and the acclaimed Before Trilogy featuring Julie Delpy and Ethan Hawke. Although he had never directed a full-length film in a language he wasn’t fluent in, “Nouvelle Imprecise” was filmed primarily in French, incorporating only a few lines of dialogue in English, showcasing his dedication to authenticity in every aspect of the film.
Linklater acknowledged the challenges he faced on set, stating that he relied heavily on Halberstadt, who collaborated on adapting the script into French with Laetitia Masson, and on his dedicated crew. This collaborative effort defined the production of “Nouvelle Imprecise,” transforming it into a shared experience that highlighted the importance of teamwork in filmmaking.
“I focused on observing the actors’ comfort levels and their natural behaviors while filming. I felt a certain apprehension on set, so we employed a structured approach with Michele, our script supervisor, and ultimately, the editor. This way, I could monitor the performances and ensure we captured the required essence,” he explained. His meticulous attention to detail is evident in his approach to directing, ensuring that every scene is executed flawlessly.
Linklater also emphasized the importance of feedback from his cast. “I often sought validation from the actors, asking, ‘Did that work?’ This was particularly crucial in this film, as I placed immense trust in the people I was collaborating with,” he noted, highlighting the collaborative nature that characterized the production.
Despite beginning with an English script, Linklater transitioned seamlessly into French for “Nouvelle Imprecise.”
“We started with an English script and then quickly shifted to the French version because I envisioned making a film subtitled in English. To me, the Nouvelle Imprecise embodies the beauty of the French language. The sound of cinema is intertwined with the French language, enhanced by English subtitles. I have a profound appreciation for the subtitled format,” Linklater stated, underscoring his passion for the art of filmmaking.
Linklater was also committed to avoiding modern technical elements in “Nouvelle Imprecise,” which presented its own set of challenges. “It was intriguing to explore another filmmaking era with its unique budget constraints and visual styles. The simplicity of the early ’60s allows for a creative focus. I aimed to disregard all cinematic advancements post-early ’60s, steering clear of crane shots, Steadicams, and dolly cameras,” he explained, illustrating his dedication to authenticity in recreating this cinematic period.
“The goal was to shoot the film in the same manner as they did back then. It was a delightful challenge to impose restrictions and maintain simplicity, reflecting their original techniques,” Linklater added, demonstrating his commitment to honoring the filmmaking practices of the past.
“Nouvelle Imprecise” reveals how Godard operated without a traditional script, often guiding his actors through fragments of scenes and poetic dialogue, typically relying on single takes to capture raw and spontaneous performances. However, as showcased in Lucie Saada‘s short film “Le Making of de Nouvelle Imprecise,” which also screened at the Biarritz Festival, Linklater adopted a far more meticulous and persistent approach. The behind-the-scenes footage features Deutch, Marbeck, and Linklater executing multiple takes to accurately convey the essence and emotion of each scene in “Breathless,” capturing nuanced interactions off-camera.
Linklater also embraced a fresh approach to casting in “Nouvelle Imprecise,” working with several newcomers, including Marbeck and Dullin, both of whom had never appeared in a feature film before.
“Richard provided us with invaluable guidance,” Marbeck reflected. “He shared a manifesto with us, stating, ‘You’re not portraying Jean-Luc Godard, Jean-Paul Belmondo, or Jean Seberg. Instead, you are embodying the essence of Jean-Luc, Jean-Paul, and Jean—young individuals filled with aspirations for cinema and a desire to contribute to the world.’ This message resonated deeply with us,” Marbeck noted. The manifesto clearly influenced Marbeck, who, despite limited experience in short films, delivered a remarkable portrayal of Godard, capturing his distinctive speech patterns and mannerisms. As Variety critic Owen Gleiberman remarked, Deutch is a “force” as Seberg.
Acquired by Netflix during the Cannes Film Festival, “Nouvelle Imprecise” now stands a chance of bringing France its first Oscar for Best International Feature in over three decades, provided the French Oscar committee selects it as their official contender. This potential recognition underscores the film’s significance in the realm of international cinema.
