Greetings again from the darkness. Like most who obsess over cinema, I went through my French New Wave phase. Actually, binge is likely more accurate since the phase has yet to end. I’ll always make time for Truffaut, Godard, Chabrol, Rohmer, Varda, and Demy. American director Richard Linklater clearly shares this fondness as he releases this homage on the heels of BLUE MOON, his other superb 2025 release. Co-writers on this film are Holly Gent, Laetitia Masson, Vincent Palmo Jr, and Michele Petin … two of whom have previous collaborations with Linklater.
While Linklater shows us the many faces and names of those behind the movement, most of this story focuses on Jean Luc Godard and his quest to make BREATHLESS (1960). Godard is played by relative newcomer Guillaume Marbeck and the trademark sunglasses. Godard is a film critic turned writer turned director. In fact, we hear him repeat, “I have to direct”, seeing as his goal to direct his first feature by age 25 has already been missed. He talks reluctant and skittish producer Georges de Beauregard (Bruno Dreyfurst) into financing the film by claiming Francois Truffaut (Adrien Rouyard) and Claude Chabrol (Antoine Besson) had co-written the script. Both men had successful films under their belts with THE 400 BLOWS and LE BEAU SERGE, respectively, so the producer viewed his risk as minimal.
Already a star at age 21, Jean Seberg (a terrific Zoey Deutch) finally agrees to join the cast, as does amateur boxer and new actor Jean-Paul Belmondo (Aubry Dullin). Linklater does a nice job in recreating the haphazard manner in which Godard worked. Of course, there was no script … other than what he wrote each morning over breakfast. He was after spontaneity, and this caused a clash with Seberg. Much of how he worked would be considered guerilla filmmaking, and it’s interesting to see how the cast and crew react to Godard’s ‘genius’.
Along with the music, Linklater and cinematographer David Chambille capture the authentic look and feel, and it serves as a tribute to the era, including ever-present cigarettes. The French New Wave, and especially Godard, offered a new vision for cinema. Their impact on future filmmakers cannot be overstated, and Linklater’s passion for the movement for cinema is obvious. He surely hopes the film inspires others to explore the revolutionists from the Wave that shook the foundation of cinema … even if “it’s no CITIZEN KANE”. Just keep in mind what Godard says, “All you need for a movie is a girl and a gun.”
Releasing on Netflix on November 14, 2025
Posted by David Ferguson 
Greetings again from the darkness. Watching this film is how I imagine it would be to view a poem. It’s meditative and slow … somehow calming us as we contemplate the topics broached. Director Charlie McDowell (THE ONE I LOVE, 2014) and screenwriter Robert Jones have adapted the 1972 novel by Tove Jansson. Granted, it’s an unusual set up for a film shown anywhere outside of a film festival, yet because it is poignant and relatable, it’s an easy one to recommend.
Greetings again from the darkness. When we first meet Mr. Blake, he’s tidily packing a small suitcase and informing an anxious phone caller that he will not be attending the ‘Man of the Year’ award ceremony, even as he’s being introduced as the guest of honor in the background. We realize Blake is leaving London because he takes one last forlorn glance at his long-time apartment before heading “back to where it began.” It’s rare for the author of the source novel to adapt and direct a film, but that’s the situation here with Gilles Legardinier and his 2012 book, “Complètement cramé !” Co-writer Christel Henon helped with the screenplay.
Greetings again from the darkness. In the Mother Goose nursery rhyme, Jack and Jill not only went up the hill together, they also tumbled down. This latest from writer-director Samuel Van Grinsven and co-writer Jory Anast spin a Jack and Jill yarn that’s not nearly as cutesy, yet does involve some emotional tumbling … and one creepy spirit.
Greetings again from the darkness. Beauty. It permeates every scene in Durga Chew-Bose’s (TINY FURNITURE, 2010) adaptation of the 1954 Francois Sagan novel. The novel was previously adapted for the screen in 1958 by legendary filmmaker Otto Preminger, and this new version assumes a different tone while maintaining the essence of the novel. It should be noted that Sagan was only eighteen years old when her novel was published, adding pertinence to the character of Cecile.
Greetings again from the darkness. Given the turmoil around the globe, being the first film co-directed by an Iranian filmmaker and an Israeli filmmaker makes this one even more impressive … both on screen and behind it. The co-directors are Zar Amir Ebrahimi (who also stars) and Guy Nattiv (who also co-wrote the screenplay with Elham Erfani). Nattiv previously won an Oscar for his superb short film SKIN (2018).
Greetings again from the darkness. Empty Nest Syndrome is one thing I’ve never really understood. As parents, for eighteen years we work diligently to raise independent, morally strong and confident individuals who can contribute to society and stand on their own. When that time comes, it should be a celebration, not an episode of sadness and depression. For so many parents, it’s the latter. This first feature film from writer-director Antonio Sequeira takes on this topic by showing not just the changing family dynamics, but also the changes for the individuals.
Greetings again from the darkness. Although I don’t tend to seek out the majority of romantic comedies released each year, this film’s title and backstory were enough to pique some interest. Writer-director Laura Piani was inspired to write this story during her time working (and reading) at Shakespeare and Company, a favorite haunt of writers and readers (and me) while in Paris.
Greetings again from the darkness. London-based Indian artist Karan Kandhari chooses a misfit couple’s arranged marriage as the basis for his debut feature film. As writer and director, Kahdhari delivers a psychological comedy that goes a bit dark at times, yet the abundance of creativity and a terrific lead performance keep us anxious to see what happens next.
Greetings again from the darkness. As one who watches twenty-plus movies every month, it’s a bit of thrill when one offers something out of the ordinary – a unique viewing experience. Such is the case with this short film from writer-director Matteo Burani and co-writer Gianmarco Valentino. Of course, we’ve all seen stop-motion animation and claymation films … just last year, WALLACE AND GROMIT: VENGEANCE SO FOWL was outstanding. But Burani’s film from Studio Croma is something altogether different (and likely influenced by the great David Cronenberg).
Movie Reviews from the Dark 