lens? The answer to this question is not as important as the statement that he or she is watching everything from a distance. Olivier,from a perspective of the past moments, the director from a distance of the past years. Everything is mediated, filtered, familiar and domesticated. What then is so unique about this film? It seems that it is the extraordinary freshness and narrative unpretentiousness which is harder to find in today's cinema than a needle in a haystack. Mike Mills has almost mastered it in 'Beginners' (2011) which enjoyed great success in the cinema during summer. If we went back in time, we would find it only at the end of the 1950s, the beginning of the 1960s.  The reference to the most prominent French New Wave film 'Breathless' (1960) by Jean-Luc Godard in the first chapter is not a coincidence. Richard Ayoade's film is formally too sophisticated to compare it on the technical level. The shared secret of the Frenchmen and the aspiring director is rather found in the lightness of dialogues, youthful rebelliousness against what and how everything should be. To describe the Submarine's narration I could quote Tadeusz Lubelski who, writing about 'La Pointe Courte' (1954) by Agnes Vardy, depicted a style that is 'slow, thoughtful, as women sensitive to the intangible and treating seriously relations of a man with the surrounding world'. It is also worth mentioning that in one of the scenes, Olivier is running on the beach as if Antoine from 'The 400