The time frame in “Nouvelle Vague” is more expansive than that in “Blue Moon”; opening in 1958, the new film continues through much of 1959, but it too revisits a specific cultural flashpoint. Linklater sketches in the period with focus and fluid storytelling, using the making of “Breathless” to illustrate a larger context. In short order, he introduces Godard — quick-witted, sharp-tongued, vibrating with anxious energy behind his ever-present sunglasses — as
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