BLUE MOON / NOUVELLE VAGUE - Review | Berlinale/Cannes 2025

Richard Linklater's latest film brings back the comfort from contained dialogue driven-dramas reminiscent to Woody Allen films as viewers follow the various interactions lyricist Lorenz Hart has with the guests/workers of a bar after the opening night showing of the musical Oklahoma!. Thus, it serves as a transformative acting showcase for Ethan Hawke as Hart along with Andrew Scott as the musical's composer, Richard Rodgers, as they play against type. Even with the charm that the actors provide with their conversations that break into stories of love and art, the closed-off location and dialogue starts feeling repetitive after a while along with being a film that was a nice viewing but lacked providing any exceptional qualities. Still, Linklater's knowing how to engage viewers with the socialization of characters is certainly prevalent with Blue Moon (2025), even if it's been done better with his other films.

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Meanwhile, Richard Linklater’s other latest film not only flawlessly captures the specific visual/sound aesthetics of 1950’s black and white French cinema. His expertise for creating pure engagement for films consisting of characters hanging out is certainly present as Jean-Luc Godard goes against all odds and attempts to bring his unconventional vision of Breathless (1959) to life. Thus, the film is able to provide a different perspective to the perception of French New Wave trademarks while serving as a love letter to film critiscism and its value to then create art. Despite a rushed ending, Linklater’s first French film is an endlessly entertaining look at someone making the most of a moment that’s stylish, sharply written, briskly paced, and features an exceptionally casted ensemble that feel like exact replicas of the people they’re portraying.

Still Courtesy – Sony Pictures Classics

Still Courtesy - Netflix

After the opening night showing of the hit musical Oklahoma! on Broadway in 1943, accomplished lyricist Lorenz Hart (portrayed by Ethan Hawke) leaves the show and enters Sardi's Bar where his exuberant energy starts being demonstrated as he partakes in various conversations with those surrounding him. The venue continues being filled with more and more people who were at the showing of Oklahoma! along with those close to Hart. This includes Oklahoma!'s composer Richard Rodgers (portrayed by Andrew Scott), Hart's desirable apprentice, Elizabeth Weiland (portrayed by Margaret Qualley) and the longtime bartender Eddie (portrayed by Bobby Cannavale). As the night goes on, Hart begins coming to terms with many aspects that are not what they used to seem like to him, especially involving his love life/creative career.

With the first of his two films released in 2025, it marks a return to the type of intimate drama relying on dialogue that has become synonymous with his best works. Drawing clear inspiration from the likes of Woody Allen, the film places viewers in a confined setting—a bar following the opening night of the Broadway musical Oklahoma!—where they witness the various interactions between Lorenz Hart, the famed lyricist, and the eclectic group of guests and workers who populate the space. These interactions are a blend of humor, melancholy, and artistic reflection, as Hart’s conversations meander through themes of love, ambition, and creative struggles. The setting, while small and limited in scope, provides the perfect backdrop for Linklater's character-driven storytelling, allowing for moments of genuine connection amidst the confined atmosphere. The film feels, in many ways, like a love letter to the art of conversation itself.

Ethan Hawke delivers a transformative performance as Lorenz Hart, shedding his usual roles to inhabit a character that is equal parts vulnerable, witty, and self-destructive. His portrayal brings Hart’s complex nature to life, capturing the lyricist’s sense of artistic brilliance paired with a deep-seated insecurity. Alongside Hawke, Andrew Scott offers a counterbalance as Richard Rodgers, Hart’s long-time collaborator, playing against type with a more subdued, reserved performance that contrasts sharply with Hart’s more volatile energy. The chemistry between the two actors is palpable, and their back-and-forth provides the film's emotional core. Their conversations—ranging from lighthearted banter to poignant moments of reflection on the struggles of being a creator—are a joy to watch, and the film shines in these quieter, more thoughtful exchanges. Linklater, known for his skill in capturing human interaction, brings these moments to life with a keen understanding of pacing and tone.

However, as Blue Moon unfolds, the confined setting and reliance on dialogue-driven scenes begin to wear thin. Despite the charm of the actors and their engaging performances, the repetitiveness of the conversations starts to detract from the film's overall impact. While the initial exchanges feel fresh and dynamic, the lack of narrative progression and the repetitiveness of the dialogue ultimately leave the film feeling more like an exercise in style rather than a fully realized narrative. The conversations about love and art, though well-written, begin to loop back on themselves without offering new insights or developments. As a result, while Blue Moon is undoubtedly a pleasant viewing experience, it lacks the exceptional qualities that made Linklater’s other works, like Before Sunrise or Boyhood, so memorable. Still, there’s no denying Linklater’s ability to engage viewers through character-driven interactions, and while this may not be his most groundbreaking work, it showcases his unwavering knack for capturing the complexity of human connection.

Verdict

6/10

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Meanwhile, Nouvelle Vague (2025) takes place in Paris, France during the 1950s, following a young Jean-Luc Godard (portrayed by Guillaume Marbeck) working as a film critic for Cahiers du Cinéma. However, creating his own films has always been an aspiration and due to his frustrations for the kinds of conventional films that the industry is prioritizing on making, he's had enough and starts going into production on his first feature film, Breathless (1960). While production goes on with actors like Jean Seberg (portrayed by Zoey Deutch) and Jean-Paul Belmondo (portrayed by Aubry Dullin) joining the cast, the odds continue to be less in Godard's favor due to his unconventional approach to helming the film that puzzles the cast/crew. Still, Godard will do anything to make sure his vision comes to life that turned into the birth from one of cinema's most influential movements.

For those who believe that an American filmmaker isn't capable of presenting a story so crucial for French cinema to life, Linklater ends up proving them wrong as he seamlessly captures the visual and sound aesthetics of the era. From the stark, high-contrast black-and-white cinematography to the carefully composed shots and jazzy, improvisational score, Linklater immerses the viewer in the world of French New Wave with stunning precision. What makes his approach even more remarkable is the way he manages to blend his own trademark style of deep character engagement with the raw, experimental energy of that cinematic movement. As he follows the fictionalized story of Jean-Luc Godard's audacious attempt to bring Breathless (1960) to life, Linklater transforms what could have been a simple biographical narrative into a deep dive into the philosophy and artistry behind filmmaking itself. The result is a love letter to the world of cinema, and particularly to film criticism, which Godard famously embraced as part of the creative process.

The film provides a fresh perspective on the legacy of French New Wave by exploring the revolutionary nature of its key figure, Godard, as he challenges conventional filmmaking methods. Linklater skillfully examines how Godard’s unorthodox vision was not just a reflection of his artistic ambitions but also a form of rebellion against the established norms of storytelling. The film draws attention to how these groundbreaking filmmakers, much like critics themselves, pushed the boundaries of what film could be, transforming it from a mere medium of entertainment to an art form in its own right. By juxtaposing Godard’s chaotic, unrefined process with the polished and often formulaic approach of mainstream cinema, Linklater explores the tension between the desire for artistic purity and the demands of a commercialized industry, making Nouvelle Vague (2025) a sharp and thoughtful commentary on the evolution of film as an art form.

While Nouvelle Vague (2025) is largely a resounding success, it’s not without its flaws. The film’s ending, which feels a bit rushed, disrupts the otherwise meticulous pacing and character development. This hurried conclusion detracts slightly from the impact of the narrative, leaving some viewers wishing for more time to fully digest the emotional and philosophical threads that have been carefully woven throughout the story. However, these shortcomings are minor in comparison to the overall strength of the film. The sharp writing, brisk pace, and a cast that feels like an exact replica of the figures they are portraying all contribute to the film’s endless entertainment value. Linklater has assembled an ensemble that captures the essence of the iconic personalities of the French New Wave, bringing a level of authenticity that adds to the film's depth and charm. In the end, Nouvelle Vague (2025) ends up being an engaging and stylish exploration of the power of cinema and a tribute to the filmmakers who reshaped it forever.

Verdict

8/10

Still Courtesy - Netflix