In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her, Marina Vlady. The film is a kind of dramatised documentary, illustrating and ...
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Set in the near future, Paula, a leftist writer, goes from Paris to the French town of Atlantic-Cité when she learns of the death of a former colleague and lover, Richard P. Is she there to... 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 »
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 ... See full summary »
A supposedly idyllic week-end 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 »
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 »
How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to ... See full summary »
In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her, Marina Vlady. The film is a kind of dramatised documentary, illustrating and exaggerating the emotionless lives of characters in the new Paris of the 60s, where commercialism mocks families getting by on small incomes, where prostitution is a moneyspinning option, and where people are coldly resigned and immune to the human nightmares of Vietnam, and impending Atomic war. Written by
There is something sublime about this film; whether it is the perspective, the idea behind the story (from an article about married women living in the new flat buildings of Paris suburbs taking on part-time prostitution) or the often sublime sequencing of events, there is a continuity of thought at work behind it, the continuity of the artist (as film maker, painter, philosopher) at work. The film has elements of meditation, social comment, and faith which seeks not just to analyse or explain what is is to live in this modern world (since, as Godard observed, living in Paris inevitably involves some form of prostitution) - but to put meaning back into it again, to raise ideas and thought about observing this life, to speculate. So the ideas about a superficial love of products (cars, washing powder, magazine) may seem a little dated and old-school post-modernist for us, but how many directors tackle the questions so openly, artistically and honestly, on a multitude of levels all at once? The film is about Godard's eye and mind of course, secretly feeding dialogue directly to his actress with microfone and earpiece (fulfilling Renoir?), as well as fulfilling a cinematic history of boys filming girls. The coffee cup analogy of consciousness emerging, the car wash scene, the tripartite openness of the film, the perspicacity... there is too much to say about this film. If only there were novelists or writers around who could do the same, with such beauty.
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