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 ... See full summary »
On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making. While Solidarity takes on the Polish government, a Polish film director, Jerzy, is ... See full summary »
Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract ... 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
In the scene where Juliette drops off her daughter at the day care/brothel, there is a painting on the wall of a screen shot of Nana (Anna Karina) in Vivre Sa Vie. See more »
I don't know where or when, just that it happened. I have tried all day to recapture the feeling. There was a scent of trees. I was the world, the world was me. A landscape is like a face.
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Jean-Luc Godard has been known for his intellectual observations and criticisms. This film is no exception, it is one of the director's masterpieces, a film of unique intellect and style, a movie in which feels almost like a documentary with many characters narrating their actions, along with Godard who whispers personal opinions and observations into the camera. The film is miraculous in its acute social observation along with its discussion of almost every facet of Paris life given both a realistic context by Godard and his pseudo-documentary approach and a fictional context by the actors, creating for us a sort of double-sided film of both fact and fiction, of satire and drama, and of love and hate. As with almost all Godard films, subjective to those not familiar with his sense of structure, but an essential viewing for the intellect.
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