Breathless: French New Wave Cinema and Acting Technique Traditionally, acting has always been regarded as a 'craft.' Acting in the theater requires understanding certain modes of presentation such as breath and movement, to communicate the actor's intention to the audience. Film, however, is often called a director's medium, because the director can select what snapshots of life he or she wishes to show to the viewer. Film is also a more intimate, visual format, and demands more 'naturalness' on the part of actors to seem realistic. The French New Wave director Jean-Luc Godard took this to a new level in his 1959 film Breathless. Godard uses seemingly nonprofessional acting to convey a sense of 'realism' to the story, based on a true life crime, even while he highlights the artfulness of the filmmaking involved using jump cuts and shaky, handheld amateurish camera techniques. The central protagonist models his life upon American film stars. The plot of the film centers on the actors' emulation of other actors. Breathless is a film about acting and about filmmaking more than it is a work of 'true crime'...

Seberg's unpolished and amateurish French and her slight stiffness on camera are used to convey her naivete, as she grows increasingly infatuated with Michel and his embodiment of a 'tough guy' persona. This is the paradox of the central relationship of Breathless. An American becomes infatuated with a Frenchman who is infatuated with American cinema, specifically Humphrey Bogart gangster films.
When Seberg's Patricia learns of Michel's crimes, the actress' face is utterly expressionless and dispassionate. Is this acting or a lack of acting? It is impossible to tell, but by simply focusing the camera on her empty face, Godard conveys his point that human life may simply be an empty shell, and we strive to emulate what we consider 'the real world' on the screen rather than truly feel deeper emotions. Reality for Godard is about surfaces…