Review
A wonderful Bruno Dreyfürst - Pete Hammond, Deadline
Bruno Dreyfürst, tremendous - Jake Coyle, The Associated Press
À bout de souffle con Georges de Beauregard (el gran Bruno Dreyfürst) como productor - Diego Batlle, Ostros Cines
Georges de Beauregard, embodied with believably elevated blood pressure by Bruno Dreyfürst - Micheal Andor Brodeur, The Washington Post
Bruno Dreyfürst, playing what used to be called the Robert Morley part - Alfred Soto, Humanizing The Vacuum
Dreyfürst is also very good as Beauregard, providing the consistent comedic foil of the exasperated adult in the situation juxtaposed against Godard’s devil-may-care creative genius. - Garret Eberhardt, Recent Releases Cinema Babel
The hilariously exasperated producer Georges de Beauregard (Bruno Dreyfürst) - Scott Tobias, Vulture
Bruno Dreyfürst is Georges de Beauregard
Pete Hammond, Deadline
At the Cannes premiere he becomes more determined than ever to make his first feature, enlisting jaded producer Georges de Beauregard (a wonderful Bruno Dreyfursft) to put up the money. But this is going to be a film done like no other since Godard’s rules of no script only notes, no color, no scope, no sync sound so he can shout out directions, and dialogue he writes in a café each morning before the day’s shoot.
At the Cannes premiere he becomes more determined than ever to make his first feature, enlisting jaded producer Georges de Beauregard (a wonderful Bruno Dreyfursft) to put up the money. But this is going to be a film done like no other since Godard’s rules of no script only notes, no color, no scope, no sync sound so he can shout out directions, and dialogue he writes in a café each morning before the day’s shoot.
Jordan Mintzer, The Hollywood Reporter, 17-05-2025
Linklater doesn’t mimic Godard here, though he gives us a good idea of what the director — played by newcomer Guillaume Marbeck, who bears an uncanny resemblance to the man himself — could have been like to work with. In a nutshell, Godard was impossible, refusing to write a real script, calling it a day on set when he ran out of ideas, disrespecting laws of filmic continuity and getting into a fistfight at one point with his exasperated producer, George de Beauregard (Bruno Dreyfürst).
Linklater doesn’t mimic Godard here, though he gives us a good idea of what the director — played by newcomer Guillaume Marbeck, who bears an uncanny resemblance to the man himself — could have been like to work with. In a nutshell, Godard was impossible, refusing to write a real script, calling it a day on set when he ran out of ideas, disrespecting laws of filmic continuity and getting into a fistfight at one point with his exasperated producer, George de Beauregard (Bruno Dreyfürst).
Owen Gleiberman, Variety
Now it’s Godard’s turn, if he can strike a deal with the producer Georges de Beauregard (Bruno Freyfürst). Godard does so by agreeing to make a gangster-and-a-girl movie based on a treatment by Truffaut, and by saying he’ll shoot it in 20 days.
Now it’s Godard’s turn, if he can strike a deal with the producer Georges de Beauregard (Bruno Freyfürst). Godard does so by agreeing to make a gangster-and-a-girl movie based on a treatment by Truffaut, and by saying he’ll shoot it in 20 days.
Peter Bradshaw, The Guardian
Bruno Dreyfürst is Godard’s long-suffering producer George “Beau Beau” Beauregard - whose disagreements with Godard over money lead to an undignified physical scuffle in a Paris cafe
Bruno Dreyfürst is Godard’s long-suffering producer George “Beau Beau” Beauregard - whose disagreements with Godard over money lead to an undignified physical scuffle in a Paris cafe
Jake Coyle, The Associated Press
On the heels of the Cannes reception for “The 400 Blows,” the producer Georges de Beauregard (Bruno Dreyfürst, tremendous) agrees to make “Breathless.” Beauregard warily eyes Godard, likely aware of the trouble he’s making for himself. He pleads for Godard to just make a sexy “slice of film noir.”
On the heels of the Cannes reception for “The 400 Blows,” the producer Georges de Beauregard (Bruno Dreyfürst, tremendous) agrees to make “Breathless.” Beauregard warily eyes Godard, likely aware of the trouble he’s making for himself. He pleads for Godard to just make a sexy “slice of film noir.”
Tobias Scott, Vulture
It takes a bit for Nouvelle Vague to find its groove, but once the enigmatic and preternaturally confident Godard takes to the Paris streets with Jean Seberg (Zoey Deutch), Jean-Paul Belmondo (Aubry Dullin), and the hilariously exasperated producer Georges de Beauregard (Bruno Dreyfürst), the film channels the spark and spontaneity of the French New Wave.
It takes a bit for Nouvelle Vague to find its groove, but once the enigmatic and preternaturally confident Godard takes to the Paris streets with Jean Seberg (Zoey Deutch), Jean-Paul Belmondo (Aubry Dullin), and the hilariously exasperated producer Georges de Beauregard (Bruno Dreyfürst), the film channels the spark and spontaneity of the French New Wave.
Ryan Lattanzio, IndieWire
There’s a buddy comedy element to Godard’s at times tempestuous relationship with his producer that makes for some of this film’s most trenchant inquiries into the filmmaking mindset. “Paying audiences enjoy a formal narrative,” he cautions Godard as disasters on “Breathless” pile up — a wink to how resistant audiences were toward experimentation in favor of easier, blandly reassuring stories that tell you how to feel, and when, and why
There’s a buddy comedy element to Godard’s at times tempestuous relationship with his producer that makes for some of this film’s most trenchant inquiries into the filmmaking mindset. “Paying audiences enjoy a formal narrative,” he cautions Godard as disasters on “Breathless” pile up — a wink to how resistant audiences were toward experimentation in favor of easier, blandly reassuring stories that tell you how to feel, and when, and why
Erik Anderson, AwardsWatch
Cocky to a fault, and without warrant (yet), he [Godard] lagged behind his fellow Cahiers du cinéma critics – Truffaut had made the classic 400 Blows at this point – and felt like he was standing on the shore as if he had missed the wave. It shook his confidence but bolstered his braggadocious in a way that convinced producer George de Beauregard (Bruno Dreyfürst) to fund Godard’s feature, a mere kernel of an idea based on a news story of a gangster and his girlfriend and that’s it.
Cocky to a fault, and without warrant (yet), he [Godard] lagged behind his fellow Cahiers du cinéma critics – Truffaut had made the classic 400 Blows at this point – and felt like he was standing on the shore as if he had missed the wave. It shook his confidence but bolstered his braggadocious in a way that convinced producer George de Beauregard (Bruno Dreyfürst) to fund Godard’s feature, a mere kernel of an idea based on a news story of a gangster and his girlfriend and that’s it.
Lee Marshall, Screen International at Cannes
The young director’s approach to the 20-day shoot is well-documented: he would write scenes and lines on the hoof and send everyone home for the day when he had run out of ideas. This exasperates Seberg, amuses Belmondo and infuriates the otherwise good-natured producer; it also fuels the wry comic verve of an enterprise that is presented as half genuine desire to make a masterpiece by tearing up the rulebook, half a kind of punk rock provocation.
The young director’s approach to the 20-day shoot is well-documented: he would write scenes and lines on the hoof and send everyone home for the day when he had run out of ideas. This exasperates Seberg, amuses Belmondo and infuriates the otherwise good-natured producer; it also fuels the wry comic verve of an enterprise that is presented as half genuine desire to make a masterpiece by tearing up the rulebook, half a kind of punk rock provocation.
JM Aubert, Les Chroniques du Cliffhanger
Godard est un peu fou, il écrit les scènes une heure avant l’arrivée des acteurs pour que justement ils soient eux-mêmes, car « plus on répète, plus on s’éloigne de la vie », il se bat mais genre physiquement avec son producteur Georges de Beauregard, il décide après une heure de tournage que la journée de travail est terminée, tout est folie.
Godard est un peu fou, il écrit les scènes une heure avant l’arrivée des acteurs pour que justement ils soient eux-mêmes, car « plus on répète, plus on s’éloigne de la vie », il se bat mais genre physiquement avec son producteur Georges de Beauregard, il décide après une heure de tournage que la journée de travail est terminée, tout est folie.
Jan Klüver, Die Welt
Auch die Tauben wirken gecastet. Angeblich liegt gar die Asche im Aschenbecher wie damals, 1959 in Paris, als ein todesmutiger Produzent (Georges de Beauregard, gespielt von Bruno Dreyfürst) so verrückt war, einem jungen Filmkritiker namens Jean-Luc Godard das Geld für sein Regiedebüt in die Hand zu drücken, eine kleine Geschichte um einen Gangster und seine Freundin, auf der Flucht vor der Polizei.
Auch die Tauben wirken gecastet. Angeblich liegt gar die Asche im Aschenbecher wie damals, 1959 in Paris, als ein todesmutiger Produzent (Georges de Beauregard, gespielt von Bruno Dreyfürst) so verrückt war, einem jungen Filmkritiker namens Jean-Luc Godard das Geld für sein Regiedebüt in die Hand zu drücken, eine kleine Geschichte um einen Gangster und seine Freundin, auf der Flucht vor der Polizei.
Désirée de Lamerzelle, Forbes
Derrière la légèreté apparente, Nouvelle Vague raconte aussi les doutes, les tensions, les paris fous qu’implique toute création. L’une des plus belles scènes montre un Godard désabusé avouant à son producteur, Beauregard, qu’il n’aurait jamais pu faire ce film avec un autre que lui, un ami. Un hommage vibrant au rôle souvent invisible — mais essentiel — du producteur dans la fabrique du cinéma.
Derrière la légèreté apparente, Nouvelle Vague raconte aussi les doutes, les tensions, les paris fous qu’implique toute création. L’une des plus belles scènes montre un Godard désabusé avouant à son producteur, Beauregard, qu’il n’aurait jamais pu faire ce film avec un autre que lui, un ami. Un hommage vibrant au rôle souvent invisible — mais essentiel — du producteur dans la fabrique du cinéma.
Ben Kenigsberg, The New York Times
In “Nouvelle Vague,” Godard’s unpredictable working methods and casual attitude toward the schedule are shown to repeatedly frustrate the producer Georges de Beauregard (Bruno Dreyfürst), who, Brody writes, really did get into a physical altercation with Godard in a café after the director had feigned illness and called off shooting for a day.
https://www.nytimes.com/2025/11/15/movies/nouvelle-vague-references-explained.html
In “Nouvelle Vague,” Godard’s unpredictable working methods and casual attitude toward the schedule are shown to repeatedly frustrate the producer Georges de Beauregard (Bruno Dreyfürst), who, Brody writes, really did get into a physical altercation with Godard in a café after the director had feigned illness and called off shooting for a day.
https://www.nytimes.com/2025/11/15/movies/nouvelle-vague-references-explained.html
Guillermo Lopez Meza, F2 Film Foward
Some of the best moments are between Godard and his producer, Georges de Beauregard (Bruno Dreyfürst), who lives in a constant state of alarm and irritation at the director’s eccentricities during a shoot that seems increasingly doomed to fail. Godard here is something of a prankster, perennially tormenting his collaborators while also considering them friends.
Some of the best moments are between Godard and his producer, Georges de Beauregard (Bruno Dreyfürst), who lives in a constant state of alarm and irritation at the director’s eccentricities during a shoot that seems increasingly doomed to fail. Godard here is something of a prankster, perennially tormenting his collaborators while also considering them friends.
Al Alexander, Movies thru the spectrum
Seeing it is all the motivation Godard needs to aspire to become the last of the Cahiers du Cinéma staff, at age 29, to take the plunge into directing, backed by his close friend, the legendary producer Georges de Beauregard (Bruno Dreyfürst).
Seeing it is all the motivation Godard needs to aspire to become the last of the Cahiers du Cinéma staff, at age 29, to take the plunge into directing, backed by his close friend, the legendary producer Georges de Beauregard (Bruno Dreyfürst).
Keith Garlington, Keith and the movies
Frustrated that he’s the only film critic from Cahiers du Cinéma magazine who hasn’t directed a movie, Godard finally gets his shot thanks to his friend and producer Georges de Beauregard (Bruno Dreyfürst). He’s given “Breathless”, a story conceived by Truffaut who is just coming off the success of his debut feature “The 400 Blows”. With backing by de Beauregard, encouragement from Rossellini (Laurent Mothe), and advice from Melville (Tom Novembre), Godard begins his filmmaking odyssey.
Frustrated that he’s the only film critic from Cahiers du Cinéma magazine who hasn’t directed a movie, Godard finally gets his shot thanks to his friend and producer Georges de Beauregard (Bruno Dreyfürst). He’s given “Breathless”, a story conceived by Truffaut who is just coming off the success of his debut feature “The 400 Blows”. With backing by de Beauregard, encouragement from Rossellini (Laurent Mothe), and advice from Melville (Tom Novembre), Godard begins his filmmaking odyssey.
Monica Castillo, Roger Ebert.com
After many of his fellow writers at “Cahiers du cinéma” made their first movies, film critic Jean-Luc Godard (Guillaume Marbeck) feels the time is right to make his own mark on cinema. He convinces flustered producer Georges de Beauregard (Bruno Dreyfürst) to greenlight a treatment co-written with fellow critic, friend, and filmmaker Francois Truffaut about an aspiring gangster.
After many of his fellow writers at “Cahiers du cinéma” made their first movies, film critic Jean-Luc Godard (Guillaume Marbeck) feels the time is right to make his own mark on cinema. He convinces flustered producer Georges de Beauregard (Bruno Dreyfürst) to greenlight a treatment co-written with fellow critic, friend, and filmmaker Francois Truffaut about an aspiring gangster.
Alfred Soto, Humanizing The Vacuum
Paris 1959. Tired of watching Cahiers du cinéma colleagues make their film debuts, critic Jean-Luc Godard (first-time actor Guillaume Marbeck) announces he’s ready to create his own. A treatment co-written with Truffaut attracts producer Georges de Beauregard (Bruno Dreyfürst, playing what used to be called the Robert Morley part), who gives the go-ahead under the mistaken impression that Godard will make a gangster film in the style of Godard’s beloved Howard Hawks.
Paris 1959. Tired of watching Cahiers du cinéma colleagues make their film debuts, critic Jean-Luc Godard (first-time actor Guillaume Marbeck) announces he’s ready to create his own. A treatment co-written with Truffaut attracts producer Georges de Beauregard (Bruno Dreyfürst, playing what used to be called the Robert Morley part), who gives the go-ahead under the mistaken impression that Godard will make a gangster film in the style of Godard’s beloved Howard Hawks.
Sonny Bunch, The Bulwark
Instead, the film feels more like a workplace comedy. You have coworkers ribbing each other and professional jealousies and an overbearing boss in the form of producer Georges de Beauregard (Bruno Dreyfürst), who quickly comes to regret giving Godard the money to get this thing made. That lends the proceedings a breezy, comic air; this isn’t in quite the same mode as Linklater’s hangout movies, but it’s not far off either.
Instead, the film feels more like a workplace comedy. You have coworkers ribbing each other and professional jealousies and an overbearing boss in the form of producer Georges de Beauregard (Bruno Dreyfürst), who quickly comes to regret giving Godard the money to get this thing made. That lends the proceedings a breezy, comic air; this isn’t in quite the same mode as Linklater’s hangout movies, but it’s not far off either.
Kevin Allen, 615 Film
Godard tells its director Georges de Beauregard (Bruno Dreyfürst) not only that he didn’t like the film, but also that “the best way to criticize a film is to make one.”
[...] Godard enlists de Beauregard to be the producer, and casts Jean-Paul Belmondo (Aubry Dullin) as Michel and American actress Jean Seberg (Zoey Deutch) as Patricia, and proceeds to drive them all crazy with his confounding directions and rebellious decisions which imperil the production.
Godard tells its director Georges de Beauregard (Bruno Dreyfürst) not only that he didn’t like the film, but also that “the best way to criticize a film is to make one.”
[...] Godard enlists de Beauregard to be the producer, and casts Jean-Paul Belmondo (Aubry Dullin) as Michel and American actress Jean Seberg (Zoey Deutch) as Patricia, and proceeds to drive them all crazy with his confounding directions and rebellious decisions which imperil the production.
Garrett Eberhardt, Cinema Babel
Deutch and Marbeck shine as Seberg and Godard, transforming into the pair not only physically but capturing their dynamic as both star and director on a challenging film set and their individual quirks and stories. Dreyfürst is also very good as Beauregard, providing the consistent comedic foil of the exasperated adult in the situation juxtaposed against Godard’s devil-may-care creative genius.
Deutch and Marbeck shine as Seberg and Godard, transforming into the pair not only physically but capturing their dynamic as both star and director on a challenging film set and their individual quirks and stories. Dreyfürst is also very good as Beauregard, providing the consistent comedic foil of the exasperated adult in the situation juxtaposed against Godard’s devil-may-care creative genius.
QuentinMoyon, Cineville
Un producteur à bout de souffle, perdu face à un réalisateur qui n’en fait qu’à sa tête : Georges de Beauregard (Bruno Dreyfürst).
Un producteur à bout de souffle, perdu face à un réalisateur qui n’en fait qu’à sa tête : Georges de Beauregard (Bruno Dreyfürst).
Taylor Zilliams, Slant Magazine
The biggest points of conflict that arise in the film are over producer Georges de Beauregard’s (Bruno Dreyfürst) and actress Jean Seberg’s (Zoey Deutch) increasing frustrations with Godard’s freewheeling approach—for flippantly burning money on half days and unused stuntmen, and for disregarding the actress’s process. Just as Godard seems to shrug these issues off, so does Nouvelle Vague, and the tensions between the creatives remain at a simmer.
The biggest points of conflict that arise in the film are over producer Georges de Beauregard’s (Bruno Dreyfürst) and actress Jean Seberg’s (Zoey Deutch) increasing frustrations with Godard’s freewheeling approach—for flippantly burning money on half days and unused stuntmen, and for disregarding the actress’s process. Just as Godard seems to shrug these issues off, so does Nouvelle Vague, and the tensions between the creatives remain at a simmer.
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