Charlotte is young and modern, not a hair out of place, superficial, cool; she reads fashion magazines – does she have the perfect bust? She lives in a Paris suburb with her son and her husband Pierre, a pilot. Her lover is Robert, an actor. Assignations with him, dinner with her husband and a client, consulting a physician: there’s tension at home. Pierre had her followed a few months before. Their marital play has an edge, Pierre slaps her and apologizes. She quizzes Robert: is he acting when he’s with her? Events may force her to choose Robert or Pierre. Close-ups fill the screen; is there more than the surface? Her eyes tear up. The horrors of war provide a distant counterpoint. —IMDb
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 insight Godard has into women's feelings and thoughts is simply amazing. In the end, I really had to stop and think "wait this was actually done by a man". Godard never ceases to amaze me - it's unbelievable the sensibility he shows, he a rational genius "who speaks like a book" (like Simon Cinéma said). Afterall, he's not only a philosopher, he's also an artist, and in the end the artist is nothing but human.
I can't recall precisely where and when I first saw Jean-Luc Godard's landmark 1964 picture Une femme mariée, but I know it wasn't until well