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It is fascinating how Godard manages to make a film about a specific love whilst developing a discourse about love in general at the same time. It is fascinating how the camera movement combines in one direction from left to right diegetic and non-diegetic space (two rooms with two pairs of characters in one house with a view of the sea) only to connect both situations in the opposite direction through sound (the cawing of a seagull, which subconsciously settles in the viewer's perception because they are already forced to follow several other visual and auditory lines). An amazing recontextualization of visual and literary experiences and thoughts. Lubtchansky's camera is very nostalgic and strangely painfully sweet. /// Love means being an active random witness to one's own change: what is it like to look back on the time of greatest love, which we never actually experience as such, only in retrospect: "By seizing this beginning of happiness, we may be the first to destroy it." The deliberate involvement of legend Alain Delon and the self-reflective title New Wave is just another such "grasping" of a filmmaking era that has already passed (similarly, one can feel the sad Godardian irony in relation to the characters of capitalists and servants - only consciously hinted at in 1990, then unresolved - radicalism belongs to past decades). (20.05.2016)