性视界传媒

性视界传媒NNES, France (AP) 性视界传媒� When first started thinking about making a film about the French New Wave, he figured he'd show it all everywhere except one place.

性视界传媒淚 thought: They'll hate that an American director did this,性视界传媒� Linklater said Sunday. 性视界传媒淲e性视界传媒檒l show this film all over the world, but never in France.性视界传媒�

But Linklater nevertheless unveiled 性视界传媒淣ouvelle Vague性视界传媒� on Saturday at the , bringing film about the making of Jean-Luc Godard's 性视界传媒淏reathless性视界传媒� to the very heart of the French film industry. It was, Linklater granted, an audacious thing to do.

And 性视界传媒淣ouvelle Vague性视界传媒� went down as one of the biggest successes of the festival. At a Cannes that's been largely characterized by darker, more portentous dramas, 性视界传媒淣ouvelle Vague性视界传媒� was cheered as an enchanting ode to moviemaking.

性视界传媒淣ouvelle Vague性视界传媒� is an uncanny kind of recreation. In black-and-white and in the style of the French New Wave, it chronicles the making of one of the most celebrated French films of all time. With sunglasses that never come off his face, Guillaume Marbeck plays 29-year-old Godard as he's making his first feature, trying to launch himself as a film director and upend filmmaking convention.

Linklater's movie, which is for sale at Cannes and competing for the Palme d'Or, is in French. It not only goes day-by-day through the making of 性视界传媒淏reathless," it endeavors to capture the entire movement of one of the most fabled eras of moviemaking. Truffaut, Varda, Chabrol, Melville, Rohmer, Rossellini and Rivette are just some of the famous filmmakers who drift in and out of the movie.

Linklater told reporters Sunday that he wanted audiences to feel 性视界传媒渓ike they were hanging out with Nouvelle Vague in 1959.性视界传媒�

性视界传媒淚t was an old idea of some colleagues of mine,性视界传媒� said Linklater. "Thirteen years ago we started talking about it. We're just cinephiles Austin, Texas, who love this era and it's meant so much to me in my filmmaking. It represented freedom and the notion of the personal film. I've made a lot of films and I've always felt if you do it long enough, maybe you should make one film about making films.性视界传媒�

The stars of 性视界传媒淏reathless性视界传媒� 性视界传媒� Jean-Paul Belmondo and Jean Seberg 性视界传媒� are played by Aubry Dullin and Zoey Deutch, respectively, in 性视界传媒淣ouvelle Vague.性视界传媒� With precision, Linklater captures them making some of the most famous shots from 性视界传媒淏reathless" with a visual style and camera movements typical of that time.

性视界传媒淲e couldn性视界传媒檛 work quite as fast. We had sound and things,性视界传媒� said Linklater, chuckling. (Godard dubbed sound after shooting.)

性视界传媒淚t was a crazy idea and I haven性视界传媒檛 really ever seen a film exactly like this. I said: We性视界传媒檙e making a film from 1959 but it性视界传媒檚 not a Godard film,性视界传媒� said Linklater. 性视界传媒淵ou can性视界传媒檛 imitate Godard. You fail. But we could imitate the style of the time.性视界传媒�

In 性视界传媒淣ouvelle Vague," Godard is surrounded by doubts 性视界传媒� Seberg is notably unsure of the project 性视界传媒� but he stubbornly sticks to his instance on spontaneity. There's no real script, some shooting days just last a few hours and lines are improvised on the spot. In one fittingly moment where Godard tells his actors just to quote Humphry Bogart movie lines, he explains: 性视界传媒淣ot plagiarism. Homage.性视界传媒�

Linklater's own homage in 性视界传媒淣ouvelle Vague" brought him back to his early days as a filmmaker. His first films 性视界传媒� 性视界传媒淪lacker,性视界传媒� 性视界传媒淒azed and Confused," 性视界传媒淏efore Sunrise性视界传媒� 性视界传媒� have much of the independent spirit of the New Wave, he said.

性视界传媒淢aking this film all these later, I felt like I erased my own history,性视界传媒� said Linklater. 性视界传媒淚 was going back to being in my late 20s making my first film. I told a friend last night: I felt like was 28 years old making this film.性视界传媒�