For over 30 years, Richard Linklater has proven himself as one of the most must-watch filmmakers in the industry. A self-proclaimed slacker, his films rarely rely on flashy filmmaking or ambitious stories. Instead, what sets Linklater apart is his understanding of human behavior and relationships. He tells stories that may seem simple on the surface but are filled with nuance, and what impresses me most is how effortlessly he does it. Linklater is the mastermind behind many of my favorite films—Dazed and Confused, the Before trilogy, and one of the most important films of my childhood, Boyhood. I’m always excited to see what he does next, and in 2025, he blessed us with what is arguably the best year of his career, releasing two acclaimed films: Nouvelle Vague and Blue Moon.
The reason I consider 2025 the best year of Linklater’s career isn’t simply because he released two great films, but because of how they complement each other and what they have to say about art, as well as Linklater himself. Each film offers a brief glimpse into the lives of great artists: filmmaker Jean-Luc Godard and lyricist Lorenz Hart. Nouvelle Vague captures the early stages of Godard’s filmmaking journey, particularly the making of his debut feature, Breathless. Blue Moon, on the other hand, is set over a single evening, months before Hart’s death. I don’t think it’s a coincidence these films were released so close together.
Before diving deeper into their connection, I want to address each film individually. As established, Nouvelle Vague tells the story of a young Jean-Luc Godard and his experience making Breathless, one of the defining films of the French New Wave. As a fan of Godard, Breathless, and that era of filmmaking in general, it’s impossible not to get a kick out of the cameos, references, and homages. This must be how comic-book fans feel watching the latest superhero movie. That said, Nouvelle Vague is more than just fan service—it’s a rich film in its own right.
Visually, Nouvelle Vague is a treat. It looks like a French New Wave film not just in its camerawork, but in its overall aesthetic. Characters are constantly smoking cigarettes over drinks while discussing art. If you know me, you know I love these kinds of films. The performances are exactly what they need to be, with Guillaume Marbeck in particular doing a magnificent job anchoring the film as Godard.
Some people have criticized Nouvelle Vague for lacking a strong identity, and while I understand where they’re coming from, I slightly disagree. Yes, the film functions similarly to a making-of documentary, but what interests me is that this late into his career, Linklater chose to make a film about Godard at the very start of his. It feels like Linklater stripping away everything he’s learned over decades of filmmaking and returning to the core philosophies that define his work. He and Godard have more in common than one might expect—despite their vastly different styles, both favour a light, flexible approach to production, whether that’s shooting on location, using natural lighting, working with small crews, or remaining open to improvisation. Filmmaking is often portrayed as a stressful, mechanical process, and while that can be true, Linklater and Godard prove it doesn’t always have to be. I had an excellent time with Nouvelle Vague—yet surprisingly, it isn’t even my favorite Linklater film released in 2025.
That honour goes to Blue Moon, starring Ethan Hawke, a film I can’t stop thinking about. Set on the evening of March 31st, 1943, the film follows lyricist Lorenz Hart as his former collaborator Richard Rodgers celebrates the opening night of his hit musical Oklahoma!. If Nouvelle Vague feels like a French New Wave film, Blue Moon feels closer to a Woody Allen film, just less comedic and more reflective.
Not only is Hart’s career unravelling, but unbeknownst to him, his life will end within months. He’s an ambitious artist, but on this night, bitterness takes centre stage. He’s an alcoholic, and as the night progresses, he grows increasingly drunk. He rambles, speaks in poetry, and recites philosophical ideas to anyone willing to listen. In short, he’s one of my favourite types of movie characters, and Ethan Hawke plays him to perfection, completely commanding the screen. I’ve long believed Hawke to be one of the greatest actors working today, and Blue Moon only reinforces that belief.
The makeup work on Hawke is among the best of the year, and the film’s atmosphere is mesmerizing. I love that the entire story unfolds inside a bar, bathed in warm lighting with gentle music playing throughout. It feels immersive, almost like you’re sitting there with Hart, especially since much of the film plays out in real time. Every line of dialogue feels believable, and when the film leans into comedy, it works beautifully. The supporting cast—particularly Margaret Qualley, Bobby Cannavale, and Andrew Scott—have a strong grasp on their characters and excellent chemistry with Hawke.
Thematically, Blue Moon is most compelling in its examination of artists grappling with fading relevance and the fear of being forgotten. Hart believes he still has so much to offer the world, yet he’s being left behind. He’s not ready to walk away, but he may not have a choice. This stands in sharp contrast to Nouvelle Vague, which follows a young Godard at the very beginning of his career. Again, I doubt it’s a coincidence Linklater chose to tell these stories in the same year. It feels like a reflection on his own career—and perhaps even a quiet confrontation with mortality after more than three decades in the industry.
Nouvelle Vague and Blue Moon offer very different experiences, yet they complement each other so well they form a single, cohesive whole. Yin and yang. They function almost like bookends: one capturing the exciting moment when an artist first discovers their voice, the other exploring what it’s like to live with the echo of that voice once it’s already been heard.
In 2025, Richard Linklater proved he still has it—though I never doubted him. Not only do I think this is the best year of his career, but I’d go as far as to call him the MVP of 2025. Releasing two great films in one year is impressive enough; doing so with such clear intention makes it even more remarkable. As for my ratings, Nouvelle Vague and Blue Moon both sit at an 8/10 for now, with Nouvelle Vague leaning closer to a 7 and Blue Moon closer to a 9. It’s a great time to be a Linklater fan.
Liam Kinghorn (born January 26 2005) is a Finnish filmmaker, film critic, and social media content creator. He began posting film-related content on social media at the age of 14. At the age of 17, he released his first ever short film, Fear and Ambition. Kinghorn’s films often explore themes of loneliness and despair.
TikTok: @theliamkinghorn, Letterboxd: @kinghorn, YouTube: @theliamkinghorn, Instagram: @kinghorncinema & @theliamkinghorn
