Patricia Lumumba and Emile Rousseau stumble across each other one night in an abandoned television studio. They meet for seven evenings to carry out a three-year plan to create a new cinema. In the first year, images and sounds are collected and experimented with. In the second year all that has been collected is criticized, decomposed, and recomposed to bring forth, in the third year, ideal building blocks for a new cinema. Continue reading
Description: Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d’Etoile (Rohmer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs. Continue reading
The russian term “Pravda” means “truth” and also the name of the official newspaper in the USSR. The Dziga Vertov group —Jean-Luc Godard and Jean-Henri Roger— departs from this double meaning to, with images from Czechslovaquia (a czechslovaquian tv presenter, daily life scenes, workers and czechslovaquian passer-bys) show how images and sounds can lie to the spectator and to proof, at the same time, that capitalism is still strongly present in the eastern countries. Continue reading
The master of the French New Wave indicts consumerism and elaborates on his personal vision of Hell with this raucous, biting satire. A nasty, scheming bourgeois Parisian couple embarks on a journey through the countryside to her father’s house, where they pray for his death and a subsequent inheritance. Their trip is at first delayed, and later it is distracted by several outrageous events and characters including an apocalyptic traffic jam, a group of fictional philosophers, a couple of violent carjackers, and eventually, a gross display of cannibalism. By the time the film concludes, their seemingly simple journey has deteriorated into a freewheeling philosophical diatribe that leaves no topic unscathed. With Week End, Jean-Luc Godard reaches an impressive plateau of film originality, incorporating inter-titles, extended tracking shots, and music to add an entirely new grammar to film language. The result is a deeply challenging work that will most certainly invigorate some viewers just as much as it will as frustrate others. Standout highlights include a jarring, sexually graphic opening monologue shot with a roaming camera and blaring musical accompaniment, and the infamous traffic jam scene, where an endless parade of cars sit bumper to bumper amidst burning cars, picnics, and honking horns. The work of a true artist and pioneer, Godard’s Week End is a landmark film that hasn’t aged or lessened in impact over time.
(Taken from Rotten Tomatoes) Continue reading
Two restless young men (Sami Frey and Claude Brasseur) enlist the object of their desire (Anna Karina) to help them commit a robbery––in her own home. French New Wave pioneer Jean-Luc Godard takes to the streets of Paris to re-imagine the gangster genre, spinning an audacious yarn that’s at once sentimental and insouciant, romantic and melancholy. The Criterion Collection is proud to present the convention-flauting postmodern classic Band of Outsiders (Bande à part).
This obscure film is directed by five well-known cinematographers. “Apathy” is directed by Carlo Lizzani and concerns a New York rape victim whose cries for help fall on deaf ears. Bernardo Bertolucci directs “Agony.” Members of the Living Theater mime death scenes. In “The Paper Flower Sequence,” directed by Pier Paolo Pasolini, a man carries a paper flower through Rome. Part four is directed by Jean-Luc Godard, a tedious segment where two people watch some actors give a boring performance. The last story is directed by Marcello Bellochio. Students at a Roman university engage in dialogue with members of the Establishment. While the stories averages 20 minutes each, this gang-directed effort quickly fell into cinematic oblivion. — Dan [hxxp://www.allmovie.com] Continue reading
In 1972, newly radicalized Hollywood star Jane Fonda joined forces with cinematic innovator Jean-Luc Godard and collaborator Jean-Pierre Gorin in an unholy artistic alliance that resulted in Tout va bien (Everything’s All Right). This free-ranging assault on consumer capitalism and the establishment left tells the story of a wildcat strike at a sausage factory as witnessed by an American reporter (Fonda) and her has-been New Wave film director husband (Yves Montand). The Criterion Collection is proud to present this masterpiece of radical cinema, a caustic critique of society, marriage, and revolution in post-1968 France.