An examination of sexual relationships, in which three protagonists interact in different combinations. It continues many of the themes dominant in Godard’s work, including prostitution (Huppert’s character) and the director’s relentless self-questioning, “What does it mean for me to make a movie?” Dutronc plays a burned out video filmmaker named Godard. As with much of Godard’s work, the film does not follow a conventional narrative. —Wikipedia
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
Expectedly incoherent at moments, but I was drawn to the slow motion/frame-by-frame effect. I especially loved that the DVD was scratched, causing skipping and freezing that I thought was part of the film.
This does have some abstruse elements, but what Godard film doesn’t? For the most part though, and contrary to what the person below me says, I’d say this is actually a welcomely accessible entry into JLG’s middle/later canon – not perfect, and admittedly not one of his best, but not bad.
"For a biographical abstract of Christopher Maclaine, try the famous first lines of Allen Ginsberg's Howl," suggests Max Goldberg in the
A publicity still of Anna Baldaccini's breasts, from Jean-Luc Godard's Sauve qui peut (la vie) [Every Man for Himself], a film about capitalism
Every now and then, Isabelle Huppert is suddenly everywhere and here we are again. She's on the cover of the new Film Comment and she's in