Nouvelle Vague
Through my time as a lover of cinema, one of the voices that has consistently stood out to me has been Richard Linklater. His use of conversation as cinematic action is always appreciated, as he turns what might seem like mundane spaces into places where huge interpersonal retrospectives unfold. In turn, Linklater elevates the casual.
With his latest film, Nouvelle Vague, Richard Linklater takes the concept of “the making of” and, in paying tribute to one of the most important films of all time, Breathless, creates a Linklater special: a quintessential hangout movie that never feels inaccessible.
Nouvelle Vague works best when its screenplay leans into its effortless rhythm of blending casual dialogue with film history. Peeling back the legacy of Breathless in this fashion removes the sense of an academic venture and instead immerses you in Godard, Seberg, Belmondo, and the mythos surrounding that landmark film. Speaking of that trio, Guillaume Marbeck, Zoey Deutch, and Aubry Dullin are wonderful throughout. Marbeck evokes Godard and gives the film its grounded center. Deutch is easily best in show as she brings a playful spark and charm, and her chemistry with Dullin syncs perfectly with Linklater’s style, making these individuals feel like people we know.
Despite the vibes of a Linklater hangout film, this is not revolutionary or ground breaking, so if you are expecting major reinvention you might walk away disappointed. Even so, Richard Linklater’s Nouvelle Vague is a vivid reminder of why his voice remains prominent, a director still able to take a subject matter and never lose his infectious style..
Anemone
Daniel Day-Lewis is considered one of the finest actors of all time, and since stepping away in 2017, cinephiles have been clamoring for a potential return of the king. That return has finally arrived in the form of a collaboration with his son Ronan Day-Lewis and his feature debut film Anemone. The question leading into its New York Film Festival premiere was a simple one: would it be worth the wait?
Unfortunately, Anemone is not worth the wait, as the film is a frustrating cinematic venture that never finds the emotional clarity it thinks it’s reaching for. It’s not just a film that feels weightless, but there are pockets that are an absolute bore, with pacing that is as slow as molasses. There’s no denying Ronan has a directorial vision, and some of his imagery is hauntingly beautiful, but never enough to elevate the film.
While the film struggles in many aspects, the performances of Daniel Day-Lewis and Sean Bean are not one of them. Day-Lewis treats his return like someone riding a bike, you just never forget. Delivering three incredible monologues, his performance is not just a reminder of greatness, but a longing for a full-time return to acting. Bean matches Day-Lewis’ intensity while offering a uniquely complex take, yet you still feel that same sense of strandedness as he explores the darker corners of his brother’s past.
Ultimately, the film is one of the year’s most frustrating. It’s a film that evoked genuine anticipation, and its only reward is bringing to light a new Daniel Day-Lewis performance. Very few films will leave you more frustrated and disappointed than Anemone.
After The Hunt
Luca Guadagnino has been on quite a run since 2017’s Call Me By Your Name. Luca has rolled out a résumé that includes Suspiria, Bones and All, Queer, and my favorite of the bunch, Challengers. With such an impressive streak, his latest film, After the Hunt, felt like another home run, especially with an ensemble that includes Julia Roberts, Andrew Garfield, and Ayo Edebiri. The reality is that After the Hunt is not just one of the most frustrating films of the year, but may be in line with Luca’s weakest film in his filmography.
Nora Garrett’s screenplay arrives with a premise that sounds like it should cut deep. However, it never finds the emotional edge and depth it keeps signaling toward. While the idea of fractured identity and character is an interesting one on the surface, Garrett’s script is flat and frustratingly unsure of how to guide you toward that meaning, which leads to a weightless experience.
Julia Roberts and Andrew Garfield do the best they can with the material they are given, while Ayo Edebiri feels a bit miscast in her role. Despite that, the three are fully committed, with Michael Stuhlbarg giving my favorite performance of the film. His turn made me long for a standalone short of Stuhlbarg’s Frederik Mendelssohn wandering the kitchen lost in his own rituals.
After the Hunt’s lasting impression is not one of provocation or boldness, but one of disappointment. For a film that aims to spark a burning conversation, it barely even ignites a flicker. It wants to confront subject matter that is raw and uncomfortable, but it only scratches the surface, and quickly fades away after the credits roll.
