Détective is one of Godard’s most engaging films, even though it has not been one of his most celebrated. Wheeler Winston Dixon described it as a “straightforward commercial venture,” the film Godard made “precisely in order to direct Je vous salue, Marie (1985).” But dismissing it in this way fails to recognize that, even in a film where Godard is forced to compromise, there is still much to be recommended. While Détective does tell a story of sorts, it is more than a mere narrative film. It still has many of the striking sound/image experiments and investigations into the forms, textures and affects of the plastic and temporal arts that we have come to expect from a Godard film. It also has a playful comic energy. In fact, as Dave Kehr notes, Détective has “all the lightness and zip of Godard’s sixties features.” Continue reading
Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art. Continue reading
In the aftermath of the student demonstrations and worker strikes that swept across France in May 1968 and after, Jean-Luc Godard — who had already declared the end of cinema, at least for him, in Week-end — fully embraced the student radicalism and the peculiar French Maoism of the time. He was setting off on a journey away from the cinema, but continued making films (and eventually videos) nonetheless. For the last couple of years of the 60s and throughout the 70s, Godard all but abandoned the commercial cinema for various political and aesthetic experiments in which he would drastically reconfigure his approach to the cinema. A Film Like Any Other was one of the first statements of this new, experimental era in Godard’s career, the beginning of his long exodus from the cinema, the first of what would be many attempts to work out, in film form, the political and cinematic questions that concerned him. In that respect, this film is a precursor to the films that Godard would make collaboratively with his Dziga Vertov Group experiments, as well as the later (and ultimately much more advanced) videos he’d create with Anne-Marie Miéville. Continue reading
Une femme coquette (A Flirtatious Woman) (1955) is the first of four short fiction films made by Jean-Luc Godard preceding his work in feature-length film.
The short film is based on the story Le Signe (The Signal), by Guy de Maupassant. It is a nine-minute story of a woman who decides to copy the gesture she has seen a prostitute make to passing men. Then a young man responds.
In Maupassant’s original tale the scene takes place indoors, the woman having signaled from her window, but in Godard’s revision the characters meet by a bench on the Ile Rousseau in Geneva. Continue reading
“French companies never seemed to learn that Godard would never make anything like a traditional advertisement, so when the Darty appliance chain commissioned a pub from the mischievous director, they were in for trouble: a daring deconstruction of consumerism, rejected by its funders.” Continue reading
In this modern retelling of the Virgin birth, Mary is a student who plays basketball and works at her father’s petrol station; Joseph is an earnest dropout who drives a cab. The angel Gabriel must school Joseph to accept Mary’s pregnancy, while Mary comes to terms with God’s plan through meditations that are sometimes angry and usually punctuated by elemental images of the sun, moon, clouds, flowers, and water. Godard intercuts a brief parallel story of Eva and her nameless lover; their adulterous affair, rife with philosophical discussions, leads nowhere.
– Written by jhailey Continue reading
Centred in the two thousand year old city of Guimarães, three renowned directors, Jean-Luc Godard, Peter Greenaway and Edgar Pêra, explore 3D and its evolution in the world of cinema. How does 3D affect the audience and their perceptions? Continue reading