When Godard made Breathless (1960) he set out to break every cinematic rule that he could. Legend has it that he would ask his assistants what cinematographic techniques would work best for a certain scene only to do the complete opposite. So, it should come as no surprise that in the opening sequence of the film, Jean-Paul Belmondo’s character looks directly at the camera and speaks to us the viewer as if it were nothing out of the ordinary. But fourth wall breaks were not a common thing back then, especially not in serious movies. Continue reading How Fleabag Reimagines Fourth Wall Breaks →