Comedy on a film that revolutionized in the French Cinema: We saw a new wave in Cannes in 2025 and we laughed

During his two previous passages (held in the same year, in 2006) at the Cannes Festival, Richard Linker inspected today’s (fast food nation, competition) and in the future (scanner dark, with some appearance). Today, the author of Boyhood goes to the past. But not just any: a French cinema that has been permanently turned upside down with a new wave and under its guidance, which were Jean-Luc Godard, François Trufout, Allen Resnais or Eric Rohmer.

So many directors we see in the Nouvelle Vague, a film that itself was not a history of movement that released a French cinema from statistics indicating future revolutionaries, but comedy returning to one of the most complicated breathing.

It is also about the success of François Trufta’s film, which opens Richard Linker. And at the Cannes Film Festival, where the feature film received a staging prize, which created a gap for whom it finds on the Croissate, at the same time, as a way to finish the loop, with many humor and elegance that is equal to its black and white photos.

Because a new wave is made “Likes”It is as if Jean-Luc Godard or one of his employees signed in the style of that time. What is the difference in the beautiful, humorous biopic adopted by Michel Hazanavich, who also went through Cannes and competition in 2017? The color already (or its absence here). And tone.

At another period of Pierot Le Fu director, Louis Garell’s film has played pastics cards and postmodern humor, with Godard codes and uncertainty. Here, humor is more based on the situations and character of Jean-Luc Godard, which we want some beautiful points.

Conquered the essence of Jean-Luc Godard

According to Guillaume Marbeck’s interpretation, the latter depicts a new wave ambition to casting, as Richard Linker is looking for a less perfect physical resemblance than to capture the essence of the characters. Obviously, Jean Sberg, Jean-Paul Belmondo or François Trufout, so Zoy Deich, Aubri Dulin (and not Victor Belmondo, who would be an easy choice) or the image of Adrienne Roward, is not the main thing for the director.

In his career several times, Richard Linkerer identified (re -creating an era and therefore not surprisingly given it in a historic film. For the movie theater in the form of a love letter and the authors who undoubtedly influenced this jack-jerk trade, which likes to move from one genre to another and show freedom, as well as some Jean-Luc Godard.

If we know the end in advance, the New Wave reminds us of how the company looked like a doomed failure before changing the history of the movie, and the evolution of Godard’s genius towards Jane Serge is unclear or its great confidence, giving it a pretentious sound. Thus, the feature film avoids the problem of hagiography, but notes a monument that is still affected by French cinema today.

In the language of Moliere, with the humor that fascinated the room in which we found it, it was very happy to take advantage of this bladder with square images, sometimes anxious rest with some iconic breathing strikes (but not its most famous replica) and in ordinary slides.

If comedies are not always good when they participate in the skin competition (for the reason that completely escape), this has applied more than one recovery, which makes us go back to the perfect actor. And we hope that Juliet Binosh’s jury will be just as attractive there, just to give it a beautiful place in the charts (with the prize of interpretation?), And on October 8 expected to release it in French cinemas.