The film that will make you not dislike Godard so much.

If the father of the Lumière brothers predicted that cinema was "an invention without a future", the filmmakers of the Nouvelle Vague turned it into an art of the absolute present: in the cinephile Paris of the fifties, nothing mattered more than the films, not even life, as Truffaut stated. Richard Linklater He has created a free and joyful work, vital and luminous, seemingly light and full of humor, but which contains within it a defiant and countercultural discourse (the defense of filmmaking as a radical artistic gesture) and which addresses a key moment in the history of cinema, refusing to explain it as something of the past. The legendary filming ofAt the end of the getaway, debut work Jean-Luc Godard's emblematic film of the French New Wave serves as Linklater's excuse to map (or rather, fabricate: in this film about the art of invention, the choice is always to print the legend rather than recount reality) that cinephile Paris where Rossellini's cinema coexisted. But, above all, the director of Boyhood It uses Godard's film and the people who made this crazy adventure possible (from the actors, the absolutely modern Jean Seberg and Jean-Paul Belmondo, to the director of photography, including thescript) to advocate, from the present, a freer way of making films and to defend cinema as an art that is also a work of craftsmanship created, in a tumultuous and miraculous way, as a team.