Breathless

25 May

close

Jean-Luc Godard's film is a classic you need to know. But, unfortunately, this is a classic that you respect for its historical significance, and not look with pleasure.
The “New Wave” in France roughly coincided with the philosophy of existentialism. Indeed, parallels with Camus’ novel The Stranger suggest, but they are deceptive. Camus’ hero, Mersaud, is a pity; he is an absurd victim. Michelle Poiscar is an asshole. He lies, manipulates, abandons women, kills a cop. His “freedom” is teenage selfishness, not existential rebellion. It is impossible to sympathize with him, and this is not a tragedy, but pure irritation.
A script? He's gone. Drama is absent as a class. The main intrigue is “will Poiscar be given a term or killed?” The hero wants to surrender to the police in the 20th minute. And the scene in Patricia's apartment in the first half, which lasts forever: the characters lying in bed and talking nonsense. Poiscar repeats "I want to sleep with you" as a spell. It's not about sex. It's about boredom. He has nothing else to do. The plot development zero is just a long pause.
Godard's innovation? For the viewer of the XXI century it is invisible. In 1960, it was an explosion. It's become routine now. I love old movies, I recognize their historical significance. But in Last Breath, I don’t think it’s revolutionary, it just feels raw.
I bet 6 out of 10. Why 6 instead of 4? Patricia didn't piss me off - she's ridiculous but alive. Belmondo is of course a genius, and the scenes with him - wearing glasses, the final grin - remain in the memory. And the historical context has not been changed: it is the manifesto of the French New Wave. I've got to check the box.
Verdict: Exhibit film. A once-in-a-lifetime look, yes. Revisiting for pleasure is not. We check the box, and we look for something else for the soul.

close

12 November 2025

close

I watched the movie New Wave (2025) from the United States and France. Cannes nomination.

In “New Wave” tells and demonstrates how Godard worked on the set of his first feature-length “In the Last Breath”, where he (the film) is the main character.

I must say that “New Wave” seemed to me more dynamic and interesting than the main character himself. It was interesting to watch the filming and can be compared to how it turned out in the film.

Both films are significant. You begin to understand that the unusual and new was in the work of Godard, when working on the film. After all, 1960 is 65 years ago, and it is only when comparing these two films that one can understand what Godard brought to cinema. It's a way of filming, treating actors and cameramen, and suppressing the producer.

close