During the Algerian war for independence from France, a young Frenchman living in Geneva who belongs to a right-wing terrorist group and a young woman who belongs to a left-wing terrorist ... See full summary »
Paul is young, just demobbed from national service in the French Army, and dishillusioned with civilian life. As his girlfriend builds herself a career as a pop singer, Paul becomes more ... See full summary »
A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse ... See full summary »
Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let his wife Camille drive with Prokosch and he is late, she believes, he uses her as a sort of present for Prokosch to get get a better payment. So the relationship ends. Written by
Stephan Eichenberg <email@example.com>
Godard was forced into shooting in CinemaScope. See more »
It is possible that all "mistakes" in the film that involve visible equipment are intentional, or at least intentionally uncorrected: the film, after all, is about the artificiality of making a film, and the initial credit sequence shows filmmakers shooting the film itself. See more »
There's nothing like the movies. Usually, when you see women, they're dressed. But put them in a movie, and you see their backsides.
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The opening cast credits are read, without titles See more »
Ulysses, Guernica, The Rite Of Spring, LE MEPRIS...
One of the great masterpieces of the 20th century, a supreme synthesis of form, content and performance. Arguably the most beautiful too, with its found locations, sets, colour, lighting, music, decor and costume. The straightforward elegance of Godard's shooting masks a story of great complexity and formal rupture, but underneath the philosophy, semiotics and allusion is a portrait of marriage and its decline. The tension between icy irony and resigned emotion results in Godard's most perversely moving film. It is also very funny, which is too little remembered.
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