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 »
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 »
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 »
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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 »
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 investigate? On the surface, faces are beautiful, colors bright, clothes trendy. Beneath, little is clear: some talk to Paula as if she's Alice in Wonderland, corpses pile up, and ideological struggles insert themselves. A murder victim's nephew and a political party's hired hands hover around Paula. Is obscuring things her goal or is it life that's obscure? Written by
The characters are all named after filmmakers, actors, writers and political figures. Examples: David Goodis (pulp writer), Doris Mizoguchi (named after directer Kenji Mizoguchi), Donald Siegel (director), Paul Widmark (named after actor Richard Widmark) etc... See more »
A cinematographic experiment by Jean-Luc Godard! Not too accessible. Interesting opening credits with just the initials of the cast. The colors are bright, contrasting with the usual black and white movies that Godard made before this one. At some point, the movie reminded me of the hit series "Twin Peaks" by David Lynch. But this is way more incoherent. In fact, it's hard to figure if there's anything to be made of this film. Still, Godard get to explore the fascination of the French for everything that comes from the U.S.A. Another interesting fact: some of the talks exchanged by the characters (ex. in the bar scene). A linguist would probably have some fun analyzing this. Some scenes are just painful to watch if you're tired (ex. the political manifesto on tape)! Anna Karina is great to watch, as usual.
Out of 100, I give it 71. That's good for ** out of ****.
Seen at home, in Toronto, on November 26th, 2002.
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