Netflix plans a robust Oscar push for its Cannes pick-up “Nouvelle Vague” (in theaters October 31, streaming November 14), Richard Linklater‘s love letter to Jean-Luc Godard’s first film, “Breathless.” The 1960 movie, which cinematographer Raoul Coutard shot in single, silent takes on the streets of Paris, was a trailblazer in its use of natural light and disjunctive jump cuts.
Linklater’s black-and-white 35mm movie is neither prequel, sequel, nor remake of Godard’s film. It’s not a documentary. The filmmaker simply recreates with a French cast and crew what it was like to make the film. “There’s not a shot in this movie that wouldn’t fit in ’59 to ’62 or ’63,” he told IndieWire.
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Netflix plans to push the film for Best Picture, Director (Linklater has been nominated once, for “Boyhood”), Actor (Aubry Dullin as Belmondo), Supporting Actor (Guillaume Marbeck as Godard), Supporting Actress (Zoey Deutch as Jean Seberg) and Screenplay (Holly Gent, Laetitia Masson, and Vincent Palmo Jr.’s script could be adapted or original). There’s plenty of precedent for foreign-language movies gaining enough support for nominations in those categories, from Neon‘s “Parasite,” “Anatomy of a Fall,” and “The Worst Person in the World” to Netflix’s own “Emilia Pérez,” which scored 13 nominations.
But the best chance for “Nouvelle Vague” to win a category is Best International Feature and Netflix fervently hopes that “Nouvelle Vague” will be on France’s mid-September shortlist. North American distributors represented on that list make presentations to the 11-person Oscar selection committee as to why its film is the strongest contender. Then, they wait.
France sometimes picks well (Ladj Ly’s 2020 “Les Misérables” marks its last nomination); often, it does not (the committee failed to nominate Best Original Screenplay Oscar-winner “Anatomy of a Fall”). The country has not enjoyed a Best International Feature win since “Indochine” in 1993.
Because “Nouvelle Vague” is produced by leading French distributors Laurent Pétin and Michèle Pétin with a French cast and crew, the fact that Texan Linklater directed the film starring American Zoey Deutch is not a dealbreaker. France has previously submitted non-French filmmakers, including Dutch filmmaker Paul Verhoeven’s French film “Elle,” starring Isabelle Huppert and Italian Filippo Neneghetti’s “Two of Us.” Japan submitted German auteur Wim Wenders’ “Perfect Days,” which was nominated in 2024.
But “Nouvelle Vague” has one serious competitor. Neon acquired French resident Jafar Panahi’s Iranian drama “It Was Just an Accident” two days before it won the 2025 Palme d’Or; its French producers are Philippe Martin and David Thion, whose “Anatomy of a Fall” won the 2024 Palme d’Or (and five Oscar nominations).
Neon is a veteran of the Oscar submission fray, arguing unsuccessfully for “Portrait of a Lady on Fire” (no shortlist) and “Titane” (no nomination) but landing a selection for Palme d’Or winner “Parasite,” which won the International Feature category along with Best Picture and Director.
“Nouvelle Vague” is an enjoyable romp that celebrates an icon of French cinema but did not win any Cannes prizes. “It Was Just an Accident” is serious agit-prop that continues to court controversy with its criticism of Iran’s corruption. Which way will France go?
Campaigning on behalf of Neon is not only indefatigable CEO Tom Quinn but also new distribution chief and veteran Oscar whisperer Ryan Werner. And Netflix executive Lisa Taback and her awards team would like to grab a victory in this category after last year’s “Emilia Pérez” imbroglio.
As for France, its film community is just rooting for an Oscar win after 32 years without.
