Nouvelle Vague

In 1959, Jean-Luc Godard, François Truffaut and Claude Chabrol—film critics for Cahiers du Cinéma—along with Suzanne Schiffman attend the film premiere of La Passe du diable, produced by Georges de Beauregard. At the afterparty, Godard harshly criticizes the film and pledges to become a film director, as his other colleagues have. Godard attends the Cannes Film Festival where Truffaut’s film The 400 Blows becomes a resounding success, paving the way for aspiring young filmmakers.

Godard decides to direct a film based on Truffaut’s short outline, inspired by Michel Portail, a petty criminal who had stolen a car, and his American journalist girlfriend Beverly Lynette. Meanwhile, Godard casts Jean-Paul Belmondo, who has completed his military service, for the lead role as Michel Poiccard. Back at the office of Cahiers du Cinéma, Italian director Roberto Rossellini encourages the staff to avoid artistic artifice and shoot efficiently.

Godard hires Pierre Rissient as the film’s assistant director, and receives advice from Jean-Pierre Melville. Elsewhere, Jean Seberg promotes her latest film Bonjour Tristesse. Godard meets with Seberg through her husband François Moreuil, and decides to cast her as Patricia. Godard next hires cameraman Raoul Coutard and expresses his creative vision, desiring a guerilla filmmaking style and to shoot in the Academy ratio.

On the first day of production, Godard films only a single scene. As production continues, Godard’s continual script rewrites, continued emphasis on spontaneity, disregard for continuity, and the exceptionally short shooting days bewilders the cast and crew members. As Godard shoots scenes between her and Belmondo, Seberg becomes frustrated by Godard’s directorial style and briefly considers leaving the production. Belmondo is told his career will be ruined.

After a week of filming, Godard converses with Truffaut and Schiffman over drinks, where he is eager to cast Truffaut as an informant in the film. By the second week, Godard phones Coutard that he has suspended filming for the day, claiming he is not feeling well. Shortly after, Beauregard confronts Godard, angered that production has fallen behind schedule and threatens to cancel the film. Under pressure, Godard expedites the production and films further scenes between Seberg and Belmondo.

During the middle of the second week, Godard casts himself as the informant after Truffaut has declined the role. He subsequently films a cameo of Jean-Pierre Melville near an airport. Later, Godard films the scene where Belmondo’s character dies on the street. He and Seberg have a brief disagreement when Godard wants Seberg’s character Patricia to search through the dying Michel’s pockets, but Seberg refuses to play the scene that way. Instead, Seberg’s Patricia questions what “dégueulasse” (disgusting) means. When Seberg finishes her last scene, she is relieved and heads back to Hollywood to film her next film, Let No Man Write My Epitaph. After 23 days of filming, Godard wraps the production.

During post-production, Godard urges editor Cécile Decugis to make jump cuts, much to her disagreement. Godard then screens his film Breathless for Truffaut, Chabrol, Schiffman, and Beauregard who eagerly dismiss the film. However, Breathless became one of the most influential films ever made. An epilogue states Belmondo became an international star while Seberg divorced her husband, appeared in 35 films, and died at the age of 40. Godard’s filmmaking career continued for more than 60 years.

Last Updated: December 01, 2025 at 15:40