The lynchpin of the French New Wave, Jean-Luc Godard was arguably the most influential filmmaker of the postwar era. Beginning with his groundbreaking 1959 feature debut A Bout de Souffle, Godard revolutionized the motion picture form, freeing the medium from the shackles of its long-accepted cinematic language by rewriting the rules of narrative, continuity, sound, and camera work. Later in his career, he also challenged the common means of feature production, distribution, and exhibition, all in an effort to subvert the conventions of the Hollywood formula to create a new kind of film.
Godard was born in Paris on December 3, 1930, the second of four children. After receiving his primary education in Nyon, Switzerland – during World War II, he became a naturalized Swiss citizen – he studied ethnology at the Sorbonne, but spent the vast majority of his days at the Cine-Club du Quartier Latin, where he first met fellow film fanatics Francois Truffaut and Jacques Rivette. In May… read more
The Dziga Vertov Group (French: Groupe Dziga Vertov) was formed in 1968 by politically active filmmakers including Jean-Luc Godard and Jean-Pierre Gorin. Their films are defined primarily for Brechtian forms, Marxist ideology, and a lack of personal authorship. The group, named after 1920s-‘30s Soviet filmmaker Dziga Vertov, was dissolved soon after the completion of 1972’s Letter to Jane.
They are generally credited with having made nine films: read more
Godard's worst that I've seen. Even his way of presenting these non-ideas is incredibly boring. It felt lazy. The long take of the woman's bush was uncomfortable but I'm a pervert so I liked it. And those damn kids making posters and writing the Mao song is unbearable. It succeeds in presenting the pretentious shallowness of children that got confused during the 60s, Godard included. But it was a necessary failure.
This week we have word on upcoming projects from Werner Herzog, updates from Venice & Adrian Martin on Stephen Dwoskin and Chris Marker.