MOMA commissioned this ‘moving-image essay’ by Miéville and Godard of their reflections on the state and role of art at the end of the twentieth century. this belongs to godard’s latest era of essayistic filmaking. Read More »
Tag Archives: Jean-Luc Godard
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. Read More »
Captured in beguilingly chic noir et blanc, Jean Luc Godard’s Une Femme Mariée (A Married Woman) is an erudite, somewhat autobiographical, handsome and twisted examination of female infidelity. Although it has been rather overlooked amidst Godard’s formidable body of work, it is one of his most alluring and personal cinematic endeavours and represents a critical juncture in his evolution as a film-maker.
Originally titled La Femme Mariée (The Married Woman), Godard bowed to the French censors, Commission de Contrôle, who were fearful of the film’s potential to be interpreted as an incendiary indictment of womankind. Read More »
A Jean-Luc Godard film about politics and the media, in which two workers in a newspaper plant attempt to make a film. Read More »
Two American Audiences (Richard Leacock, Mark Woodcock, 1968, 40 min., 16mm): Announcing itself as “a typical Pennebaker production of a typical Godard visit,” JLG speaks with grad students and Serge Losique at NYU in April 1968. Pennebaker: “When Jean-Luc Godard came to New York to make a film [1 A.M./1 P.M.] with me and Ricky Leacock, he was anxious to see America before the revolution broke out, torn up as it was with the Vietnam furor. Godard’s most recent film, La Chinoise, was playing, and Columbia University students, who had initiated their student uprising on the day the film opened, were pouring into the theater. Read More »
Lemmy Caution investigates a German ruins.
Jean-Luc Godard’s Germany Year 90 Nine Zero – the title being a pun on Roberto Rossellini’s Germany Year Zero (1947) – was made for French television in 1991 and continued his reflexive cinema/video image/sound practice that reached its zenith with Histoire(s) du Cinéma (1989-97). Germany Year 90 Nine Zero can be considered a sort of loose sequel to Godard’s Alphaville (1965). The film follows the adventures of Lemmy Caution (Eddie Constantine), “the last of the secret agents,” as he wanders through a post-Berlin-Wall Germany (from the East to the West) through a landscape littered with history. It is 26 years later, and Lemmy is looking exhausted, vulnerable, as befits the landscape of East Germany. Read More »
Jean-Luc Godard full (98 min) Instagram Live 2020-04-07.
Legendary Filmmaker Jean-Luc Godard discussing the topic of «images in times of Coronavirus» with Lionel Baier – Head of ECAL Cinema Department. Read More »