Jean-Luc Godard

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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.
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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 »

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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 »

The idea is simple: A married woman and a single man meet. They love, they argue, fists fly. A dog strays between town and country. The seasons pass. The man and woman meet again. The dog finds itself between them. The other is in one, the one is in the other and they are three. The former husband shatters everything. A second film begins: the same as the first, and yet not. From the human race we pass to metaphor. This ends in barking and a baby’s cries. Read More »

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Le Petit Soldat is an early Jean-Luc Godard film that was made on a shoestring budget. Michel Subor (who would surface years later in Claire Denis’ Beau Travail [1999] to great critical acclaim), stars here as Bruno Forestier, a young revolutionary living in Geneva who is fighting against French involvement in the war in Algeria. He meets and falls in love with rival revolutionary Veronica Dreyer (Anna Karina, soon to be Godard’s wife), and the mutual recriminations begin. Shot like a newsreel, much of the film is photographed with a hand-held camera, with sound post-synchronized; a “film noir” narration holds the film together, but the narrative, as is usual with Godard, is slight.Read More »

André Labarthe part à la recherche de Godard et de son “Voyage(s) en utopie”, installation inachevée du cinéaste au Centre Georges- Pompidou en 2006. Le film crée l’illusion d’une discussion entre les deux hommes. Extraits de films et entretiens composent ce voyage passionnant dans le temps et l’oeuvre godardiens.Read More »

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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.Read More »