Nouvelle Vague 2025

Premiere night and vow to direct

At the premiere of La Passe du diable, Godard and the Cahiers critics attend the afterparty. Godard harshly criticizes the film and proclaims he will become a film director, joining his peers in the move toward directing. The moment marks the start of his personal project and creative ambition.

Cannes success for The 400 Blows

At the Cannes Film Festival, Truffaut's The 400 Blows becomes a resounding success, signaling a breakthrough for young filmmakers. The triumph inspires Godard and others to pursue their own projects and ideas. The new confidence fuels the Cahiers’ experimental spirit.

Godard decides to direct a film

Godard resolves to direct a film based on Truffaut's short outline, drawing on influences from Michel Portail and his girlfriend Beverly Lynette. This decision sets the production in motion and marks a deliberate break from simply critiquing others’ work. The project aligns with the Cahiers group’s evolving approach to cinema.

Belmondo cast as Michel Poiccard

Godard selects Jean-Paul Belmondo, recently completed with his military service, for the lead role as Michel Poiccard. The casting anchors the film’s energy and suits the spontaneous, street-level style he envisions. This choice will shape the on-screen dynamic between the characters.

Rossellini urges efficient shooting

Roberto Rossellini visits Cahiers du Cinéma and urges the staff to avoid artistic artifice and shoot efficiently. His blunt guidance pushes Godard toward a lean, practical workflow. The encounter reinforces a preference for realism over polish in the project.

Rissient and Melville offer guidance

Godard hires Pierre Rissient as assistant director and receives advice from Jean-Pierre Melville. Their input helps shape the production’s structure and the collaboration among the troupe. The mentorship adds a layer of insider support for the ambitious shoot.

Seberg promoted; cast as Patricia

Jean Seberg promotes her film Bonjour Tristesse, and Godard meets her through her husband. He casts her as Patricia, aligning his lead actress with his evolving project. The casting introduces a new on-screen dynamic and test of the director’s spontaneous approach.

Coutard hired; guerilla style and Academy ratio

Godard hires Raoul Coutard as cinematographer and articulates a guerilla filmmaking ethos with shooting in the Academy ratio. The chosen visual language signals a radical shift from conventional filmmaking to a lean, on-the-ground style. This becomes a defining feature of the shoot.

First day of production: one scene

On the first day of production, Godard films only a single scene. The crew confronts his fluid, rapidly changing plan, and the pace sets a volatile tone for the remainder of the shoot. This starts a pattern of experimental, sometimes frustrating, days on set.

Spontaneity raises tensions on set

As filming continues, constant script rewrites and the emphasis on spontaneity undermine continuity and bewilder the cast. The exceptionally short shooting days frustrate performers, and Seberg even considers leaving briefly. Belmondo is warned that his career could be jeopardized by the chaotic process.

Drinks with Truffaut and Schiffman

After a week, Godard shares drinks with Truffaut and Schiffman and voices an interest in casting Truffaut as an informant in the film. The discussion reflects a willingness to blur fiction and reality in the project. The idea signals a shift toward meta-casting within the production.

Second week: suspension and pressure

In the second week, Godard suspends filming for a day, claiming he’s not feeling well. Georges Beauregard arrives furious about delays and threatens to cancel the project. Under pressure, Godard accelerates production and continues filming more scenes.

Godard becomes the informant; Melville cameo

Mid-second week, Godard casts himself as the informant after Truffaut declines the role. He also films a cameo of Jean-Pierre Melville near an airport, injecting the production with self-referential moments. The meta-casting underscores the film’s experimental stance.

Climax on set: Belmondo’s death scene and Seberg’s return

The film includes the scene where Belmondo’s character dies on the street. Godard and Seberg clash over how to handle the dying Michel’s pockets, with Seberg refusing a particular approach. After finishing her last scene, Seberg heads back to Hollywood to shoot another film.