Nouvelle Vague (1990)
Directed by Jean-Luc Godard
Composed entirely of literary quotations from many different sources and from several historical periods, the loose narrative concerns a drifter found by a rich woman who soon falls in love with him. A drowning accident takes place and the drifter dies, but some time later he reappears in the woman’s life looking for a job. Or could it be the man’s twin brother?
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What critics compared Nouvelle Vague to
Submarine is littered with references to the nouvelle vague (from beaches and bicycles to the Ma nuit chez Maud poster on Oliver’s bedroom wall), and takes full advantage of cinema’s repertoire of jump cuts, zooms and freeze frames.
A collaboration between director Noah Baumbach and Greta Gerwig, “the Meryl Streep of mumblecore”, Frances Ha is a film that reconciles well-trodden themes of indie cinema with physical comedy, emotional depth and a knowing affection for the nouvelle vague.
That is to say, it’s a love letter to the Hollywood movies of the 40s and 50s, to Fred Astaire , Cole Porter, Technicolor et al, but refracted through the nouvelle vague’s peculiar mix of romanticism and realism.
Taking its cue from the bare structure of Jane Austen's Emma and (ironically, considering the ultra-stylistic character of Jean-Pierre Jeunet's direction) the stark work of the Nouvelle Vague (Truffaut in particular), Le Fabuleux destin d'Amélie Poulain's ("Amélie" in North America) strength is in its imagery.
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Influenced and encouraged by the French Nouvelle Vague's shedding of traditional scene transitions (dissolves, mainly, and fades), she and Lean tried straight, bold cuts, giving the adventure a new-fashioned feel, balancing out the sweep with a kind of starkness whose unpredictability captivates until the immutably sluggish conclusion.