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IMDbPro

Nouvelle vague

  • 1990
  • 1 h 30 min
AVALIAÇÃO DA IMDb
6,4/10
1,7 mil
SUA AVALIAÇÃO
Nouvelle vague (1990)
Drama

Adicionar um enredo no seu idiomaElena Torlato-Favrini, a headstrong Italian countess and business empire heiress, believes she surpasses any man, challenging societal norms and gender roles.Elena Torlato-Favrini, a headstrong Italian countess and business empire heiress, believes she surpasses any man, challenging societal norms and gender roles.Elena Torlato-Favrini, a headstrong Italian countess and business empire heiress, believes she surpasses any man, challenging societal norms and gender roles.

  • Direção
    • Jean-Luc Godard
  • Roteiristas
    • Jacques Audiberti
    • Jean-Luc Godard
  • Artistas
    • Alain Delon
    • Domiziana Giordano
    • Jacques Dacqmine
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,4/10
    1,7 mil
    SUA AVALIAÇÃO
    • Direção
      • Jean-Luc Godard
    • Roteiristas
      • Jacques Audiberti
      • Jean-Luc Godard
    • Artistas
      • Alain Delon
      • Domiziana Giordano
      • Jacques Dacqmine
    • 11Avaliações de usuários
    • 15Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 4 indicações no total

    Fotos5

    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster

    Elenco principal22

    Editar
    Alain Delon
    Alain Delon
    • Lui…
    Domiziana Giordano
    Domiziana Giordano
    • Elle: Elena Torlato-Favrini
    Jacques Dacqmine
    Jacques Dacqmine
    • Le PDG
    Christophe Odent
    Christophe Odent
    • Raoul Dorfman, l'avocat
    Roland Amstutz
    Roland Amstutz
    • Jules, le jardinier
    Cécile Reigher
    • La serveuse
    • (as Cecile Reigher)
    Laurence Côte
    • Cécile, la gouvernante
    • (as Laurence Cote)
    Joseph Lisbona
    • Le docteur
    Véronique Müller
    • L'amie de Raoul 1
    • (as Veronique Muller)
    Joe Sheridan
    Joe Sheridan
    • Robert, aka Bob, le manager d'avions
    Belkacem Tatem
    • Le maître d'hôtel
    • (as Tatem Belkacem)
    Violaine Barret
    • Yvonne, la femme du jardinier
    Hubert Ravel
    • Laurent
    Pascal Sablier
    • Le client iranien
    Raphaël Delpard
    • Le secrétaire d'Etat
    Brigitte Marvine
    • Brigitte, la journaliste
    Steve Suissa
    • Le serveur restaurant
    François Germond
    • L'agent immobilier
    • Direção
      • Jean-Luc Godard
    • Roteiristas
      • Jacques Audiberti
      • Jean-Luc Godard
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários11

    6,41.7K
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    10

    Avaliações em destaque

    6Daniel Karlsson

    Ok

    Definitely not one of Godard's best. For his later works I recommend Passion and Forever Mozart instead of this film. Nouvelle vague has some very beautiful scenes, the music fits well, and like all his later works it's calm and fresh. The dialogues and the story are very much nonsense though. Some quotes snapped my attention and got me thinking long after I left the movie theatre, but most were not much to care about. Too many quotes makes it confusing. Maybe I would have liked it better if I knew French and Italian. 3+ / 5
    10michael-339

    Godard boldly suggests a new relationship b/w sound & image

    Godard's (or anyone's) greatest film features fading matinee-idol Alain Delon and the beautiful, enormously talented Domiziana Giordano as archetypal Man and Woman at the end of the twentieth century. The image track tells one story (a narrative involving characters who gradually swap dominant and submissive relationship roles) and the sound track another (the dialogue consists almost entirely of literary quotations from Dante to Proust to Rimbaud to Raymond Chandler, etc.) yet both frequently intersect to create a rich tapestry of sight & sound. Godard uses dialectics involving man and woman, Europe and America, art and commerce, sound and image & upper and lower class to create a supremely beautiful work of art that functions as an affirmation of the possibility of love in the modern world (and a new poetics of cinema) and that also serves as a curiously optimistic farewell to socialism. Unusual for late-Godard is the constantly tracking and craning camera courtesy of the peerless William Lubtchansky.
    7new_timebomb

    Ambitious project, more or less successfully executed

    Vague is the important word here. It's a shame that Godard spoils the memory of a truly remarkable genre of films in using the title, New Wave, for this disappointing effort from 1990. Vague is screen legend, Alain Delon's expression throughout the film; vague is the message which Godard fails to communicate; vague is the attempt which the auteur makes to be innovative and relevant, so many years after his genius first sparked revolution in the seventh art.

    Down to the nitty-gritty: Godard attempts a film whose dialogue is based on a mixture of abrasive, noisy hyper-realism, and sombre, philosophic truisms. In this sense he achieves some grade of success. The film skips on at it's own idiosyncratic pace, jerking one way, and then another, through the landscape of late-Twentieth-Century, European capitalism and empty, absurd avarice. Some of these jagged, philosophical bursts of conversation are successfully framed by the mechanical and natural surrounds in a manner unique to Godard. He disdains obvious narrative constructs in favour of a more jarring technique, throwing together literary and cinematic quotations to raise questions which seem never to be answered. However, many of the ideas presented appear overly contrived and incoherent, almost as if he has given up attempting to resolve any of the larger philosophical issues, and instead satisfies himself with an indulgent, dignified surrender to the inevitable.

    Domiziana Giordano's performance, as the ponderous, Italian heiress Elena Torlato-Favrini, is more irritating than poetically captivating, as might have been the director's intention. Her limited emotional range, her unnecessary mix of languages, and Alain Delon's almost bemused reaction leaves a tone of falsity and pretension hanging in the air, and ringing in the viewer's ear. Delon himself seems lost and miscast in his double role of hapless, taciturn, accident victim Roger Lennox, and his self-assured, gregarious twin, Richard. The film's confused, and ultimately superfluous plot, restricts his potential to inject any significant improvisation, charisma or depth into either of these crude alter egos. If anything, he is more successful depicting the ambitious, devil-may-care doppelganger than portraying the silent, submissive apprentice, reluctantly introduced into the shallow world of Godard's European upper classes.

    Visually, of course, Nouvelle Vague has many of the marks of the great French filmmaker. He paints, with the excellent collaboration of cinematographer William Lubtchansky, visions derived from a world comprised of memory and half-understood dreams. Nostalgia is always on the threshold, as Godard revisits the luxuriant, natural environment of his youth, now lit with late evening shadows and golden autumn tones. Also to be welcomed are the touches of humour which offer some relief from the cumbersome, and often clichéd, musings of the various characters. Chief amongst the running jokes is the existential angst, represented by a recurring question pronounced by Raoul Dorfman's (Christophe Odent) beautiful, young, trophy girlfriend (Maria Pitarresi): "What will I do ?" His pragmatic response: "Admire the nature"; "admire the architecture"; "admire the furniture !". Less welcome is the discordant soundtrack, which makes viewing the film a decidedly uncomfortable experience.
    4frank70

    a pretentious and largely pointless Art film

    This is an empty shell of a film, washed up and abandoned by the vibrancy which once pulsed through the Godard canon. The fresh approach from the sixties has 'matured' into little more than a largely fruitless exercise in intellectual pretension, occasionally engaging (the mere presence of Alain Delon is enough for this), but more often than not wilfully obfuscatory and infuriatingly half-baked.

    The editing is as lively as ever but serves for little when used to accompany the thin story of the countess (Domiziana Giordano trying ever so hard to be enigmatic) and her shady business dealings. There are too many only half-explored ideas, such as the familiar Marxist class considerations, expressed in cod philosophical voice-over musings, for the film to achieve a satisfactory sense of wholeness. Indeed, superficially clever but ultimately meaningless assertions such as `Maybe a man isn't enough for a woman, or perhaps he's too much' would be more in place in the glossy surroundings of a Calvin Klein advert. The title acts as an ironic and sad reminder of what the director once was, but I get the feeling he isn't really trying any more.
    7athanasiosze

    7.4/10. Recommended.

    One of those movies that you should watch twice in order to understand it better. Of course, one should love Poetry/Literature or Godard's movies, or else he/she may dislike it and find it pretentious. As another reviewer said, Godard is an acquired taste. You either love it or hate it. I love his movies and even myself have disliked some movies of his because i found them boring or meaningless.

    New Wave is not that easy to watch : Characters recite all the time quotes from literary works. Most of those quotes are thoughtful and made me think a lot. But there are too many of them and i had to be 100% concentrated and even that, it was not enough. I paused the movie many times in order to perceive what the characters were saying. But it worths the trouble. This is a highly intelligent movie and i enjoyed it.

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    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      It has been claimed that every line of dialogue in this film is a quotation.
    • Conexões
      Edited into Histoire(s) du cinéma: Une vague nouvelle (1999)
    • Trilhas sonoras
      Winter
      by Dino Saluzzi (as Saluzzi)

    Principais escolhas

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    Perguntas frequentes14

    • How long is New Wave?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 23 de maio de 1990 (França)
    • Países de origem
      • França
      • Suíça
    • Central de atendimento oficial
      • Swiss producer's official site
    • Idioma
      • Francês
    • Também conhecido como
      • New Wave
    • Locações de filme
      • Canton de Vaud, Suíça
    • Empresas de produção
      • Sara Films
      • Périphéria
      • Canal+
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 30 minutos
    • Cor
      • Color
    • Mixagem de som
      • Mono

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