Tag Archives: Jean-Luc Godard

Jean-Luc Godard – Moments choisis des histoire(s) du cinéma (2004)

NYT wrote:
Cinematic visionary and provocateur Jean-Luc Godard offers a typically challenging look at his favorite creative medium in the wake of the 20th Century in this ambitious blend of film, video, and collage. Moments Choisis des Histoire(s) du Cinema serves as both a history and critical examination of the cinema in the form of a collection of “chosen moments” from films that may or may not exist. It also offers a self-reflexive analysis of the filmmaker’s own life and work. Moments Choisis des Histoire(s) du Cinema received its American premier in a special screening at New York City’s Museum of Modern Art. ~ Mark Deming, Rovi Read More »

Jean-Luc Godard – Le petit soldat AKA The Little Soldier (1963) (HD)

During the Algerian War, Bruno Forestier lives in Geneva to escape the enlistment in France. Working for French intelligence, he is ordered to kill Palivoda, who is pro-FLN (National Liberation Front of Algeria), to prove he is not a double agent. Refusal and hesitation keep him from carrying out the assassination.

Meanwhile, he meets and falls in love with Véronica Dreyer, who helped the FLN. Bruno plans to leave with her for Brazil, but is captured and tortured by Algerian revolutionaries.

He escapes, and agrees to kill Palivoda for the French in exchange for passage to Brazil for himself and Veronica. However, the French discover Veronica’s ties to the FLN, and torture her to death. (Wikipedia) Read More »

Jean-Luc Godard – Le livre d’image AKA The Image Book (2018)

Do you still remember how, long ago, we trained our thoughts? Most often we’d start from a dream. We wondered how, in total darkness, colours of such intensity could emerge within us. In a soft, low voice. Saying great things. Surprising, deep and accurate matters. Image and words. Like a bad dream written on a stormy night. Under western eyes. The lost paradises. War is here. Read More »

Jean-Luc Godard – Hélas pour moi AKA Oh, Woe Is Me (1993)

By 1993, cinema had become a language unto itself; it was a language that was made up of not only words, but also sounds and images. As cinema history continues, the language has expanded time after time due to the talents and experiments of master filmmakers such as Jean-Luc Godard. All throughout his vast, decade spanning career, Godard has made film upon film, and with each decade of Godard that passes by, the more radical his style becomes. If ever there was a filmmaker that I could say took the cinematic language to Joycean heights, that filmmaker is, without question, Godard. With “Oh, Woe Is Me”, Godard practically makes the cinematic equivalent of James Joyce’s “Finnegans Wake” by crafting a masterpiece that works as a perplexing jigsaw puzzle, one injected with all kinds of clever jokes as well as sections of poetic beauty. (From IMDb) Read More »

Claude Chabrol,Jean Douchet, Jean-Luc Godard, Jean-Daniel Pollet, Eric Rohmer, Jean Rouch – Paris vu par… [+Extras] (1965)


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. Read More »

Jean-Luc Godard & Jean-Henri Roger – British Sounds (1970)


Filmed in the UK in 1969, this documentary by Godard and the Dziga Vertov Group represents an analysis of production and the status of women in capitalist society and a speculation about class consciousness and the need for political organization. A group of men formed by trade unionists and employers debate on what measures would benefit their respective classes. At the same time, a group of young hippies tested several Beatles songs. Read More »

Jean-Luc Godard – Un film comme les autres AKA A Film Like Any Other (1968)


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. Read More »