Leave it to Richard Linklater to see how, in art, the fundamental things apply. In his two new movies—“Blue Moon,” about the lyricist Lorenz Hart, and “Nouvelle Vague,” about the director Jean-Luc Godard’s making of “Breathless”—the central conflicts involve time. Linklater has made two dozen features in a career now in its fourth decade; having learned to work the clock, he finds pathos in the idea of two artists at risk of being late. “Blue Moon” and “Nouvelle Vague” are being released two weeks apart (on October 17th and 31st, respectively), a happy accident highlighting their connections in Linklater’s cinematic universe.

“Blue Moon” is set in New York, mainly in the bar at Sardi’s, on March 31, 1943—the night of the première of “Oklahoma!,” the musical that Hart’s longtime collaborat

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