“Director Jean-Luc Godard’s deceptively blithe tribute to the musical comedy features Anna Karina as an exotic dancer who decides that it is time for her to have a child. When her lover refuses to commit to the decision, she turns her romantic attentions to his best friend. This being a Godard film, the straightforward story serves as a framework for improvisation and stylistic experimentation, allowing for odd interludes and unexpected images. Rather than the sometimes alienating, dense intellectualism of later Godard works, Une femme est une femme offers aesthetic pleasure through luxurious visuals and a charming musical score by Michel Legrand. Against this bright backdrop, Karina proves particularly fetching, capturing the film’s frolicsome mood in an unforced manner. While not one of Godard’s most groundbreaking or influential films, Une femme est une femme is one of his most appealing and pleasurable efforts.” Continue reading Jean-Luc Godard – Une Femme Est Une Femme AKA A Woman Is a Woman (1961)
On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making. While Solidarity takes on the Polish government, a Polish film director, Jerzy, is stuck in France making a film for TV. He’s over budget and uninspired; the film, called “Passion,” seems static and bloodless. Hanna owns the hotel where the film crew stays. She lives with Michel, who runs a factory where he’s fired Isabelle, a floor worker. Hanna and Isabelle are drawn to Jerzy, hotel maids quit to be movie extras, people ask Jerzy where the story is in his film, women disrobe, extras grope each other off camera, and Jerzy wonders why there must always be a story. Continue reading Jean-Luc Godard – Passion (1982)
Faced with a failed relationship, a dead-end job, and potential homelessness, young Parisienne Nana Kleinfrankenheim (Anna Karina) turns to “the life” – that is, prostitution. A simple tale told in twelve Brechtian tableaux, Vivre sa vie is one of Godard’s most deeply felt films, anchored by Karina’s astonishing lead performance and Nouvelle Vague favorite Raoul Coutard’s breathtaking cinematography of street-level Paris. Continue reading Jean-Luc Godard – Vivre sa vie: Film en douze tableaux aka My Life to Live (1962)
Born in a decade of political turmoil, La Chinoise has become a cinematic marker for the significant historical events that surrounded its creation. Five Parisian students, their political awareness aroused by Chairman Mao’s Little Red Book and the Chinese Cultural Revolution, envision an overthrow of Western governmental systems – which they aim to bring about through acts of terrorism. One of Godard’s most brilliant films of the 60s, its success lies in the rejection of traditional narrative techniques: it is a dialectical charade which is as disturbing as it is comical. Though criticised in its day as a political manipulation, La Chinoise has proven alarmingly prophetic and its impact on audiences during the late 60s is echoed amongst viewers today. Continue reading Jean-Luc Godard – La Chinoise (1967)
Jean Luc Godard’s first short film. A documentary financed by his work as construction worker in Switzerland. Continue reading Jean-Luc Godard – Opération béton (1954)
JLG/JLG (1995) Jean-Luc Godard stars in this film as a fictional character of his own creation. JLG muses about in his home in Rolle, Switzerland in the dead of winter. He suffers the rude interruption of critics and the cheeky services of a pretty maid while contemplating the end of western culture, cinema, and himself. A busy day… but still with time for tragedy, tennis and television. Continue reading Jean-Luc Godard – JLG/JLG – autoportrait de décembre (1995)
Plot Synopsis from AMG
This controversial spy-romance tale by Jean-Luc Godard was banned from release in France for three years because it refers to the use of torture on both the French and Algerian sides during the Algerian struggle for independence. The story focuses on Bruno Forestier (Michel Subor), a young, disillusioned man who becomes involved in politics, yet in spite of the fact that he stands up to torture and commits murder because of this involvement, he does not have deep political beliefs. Also featured is his lover Veronica Dreyer (Anna Karina, then-wife of director Jean-Luc Godard appearing in her first film) as a motivating factor in Bruno’s behavior.