Vivre Sa Vie (1962)
"Vivre sa vie: Film en douze tableaux" (original title)

Not Rated  |   |  Drama  |  20 September 1962 (France)
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Ratings: 8.1/10 from 16,153 users  
Reviews: 48 user | 89 critic

Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.



(book), (story), 2 more credits »
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2 wins & 1 nomination. See more awards »



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Cast overview, first billed only:
Sady Rebbot ...
Raoul (as Saddy Rebbot)
André S. Labarthe ...
Guylaine Schlumberger ...
Yvette (as G. Schlumberger)
Gérard Hoffman ...
Le chef
Paul Pavel ...
Dimitri Dineff ...
Peter Kassovitz ...
Le jeune homme
Eric Schlumberger ...
Luigi (as E. Schlumberger)
Brice Parain ...
Le philosophe
Henri Attal ...
Arthur (as Henri Atal)
Gilles Quéant ...
Premier client
Odile Geoffroy ...
La serveuse de café
Marcel Charton ...
L'agent de police


This film explores a Parisian woman's descent into prostitution. The movie is comprised of a series of 12 "tableaux"-- scenes which are basically unconnected episodes, each presented with a worded introduction. Written by Alan Katz <>

Plot Summary | Add Synopsis




Not Rated | See all certifications »

Parents Guide:





Release Date:

20 September 1962 (France)  »

Also Known As:

My Life to Live  »

Filming Locations:

Box Office


$64,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


| (restored integral)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


Eddie Constantine was an American-born singer and actor in international films from the 1950s. Nana mentions appearing in a film with him, "No Pity". See more »


The Philosopher: An instant of thought can only be grasped through words.
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Featured in I Am a Sex Addict (2005) See more »


Ma môme
Written by Jean Ferrat and Pierre Frachet
Sung by Jean Ferrat
Conducted by Alain Goraguer
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User Reviews

Pure like Jimmy Reed
27 October 2001 | by (A Place is Just A Place) – See all my reviews

Officially translated as "My Life to Live", but literally (preferably?) "To Live Her Life." Shop girl (Anna Karina) turns to prostitution, but "gives her body to keep her soul." New Wave asceticism. Twelve tableaux, each individually titled. Analytic detachment that still breathes in the moment, true to time, and is one with the world.

Isn't' it sad? Even the purist Pacific Film Archive could find all the original uncut material only in a badly battered 16 mm print. (Wouldn't there be a zillion pristine 35 mm prints available if Julia Roberts or Bruce Willis were in it though?)

The usual Godard potpourri: homage to American gangster flicks (which, in my opinion, only detracts), existentialist digressions, written word headings, a crew of roustabout knockabout outcasts. Even though less than his best, it's far far better than anything above.

Godard opens the aperture to capture the world through his lens in all its flawed beauty and freshness. Karina is gorgeous, spontaneous, alive. The film hardly ever misses the heartbeat of now, present time, with all its rawness and unfolding surprises. The story hardly matters; I could watch Godard depict garbage being collected, anything. There is the feel, the eye, the instinct. Freedom. It's like childhood play, like Jimmy Reed, primitive, honest.

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