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 »
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 »
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 »
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 »
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 »
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 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 isolated from his friends and peers ('the children of Marx and Coca Cola', as the credits announce) and their social and emotional politics. Written by
The film uses natural light settings and minimal production crew for the entire movie. See more »
We'd often go to the movies. We'd shiver as the screen lit up. But more often, Madeline and I would be disappointed. More often we'd be disappointed. The images flickered. Marilyn Monroe looked terribly old. It saddened us. It wasn't the film we had dreamed, the film we all carried in our hearts, the film we wanted to make... and secretly wanted to live.
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Contrary to what Paul and his friend decide in the laundry mat sequence, Godard points out just before the credits that the word "féminin" does in fact contain another word: "fin" [end]. See more »
Zero = pretentious ... Much Marx, much Pepsi ... and a spice of Yé -yé
There is a Godard that we cannot stand. He loves to talk about politics in his movies, but in much of them he talk with passion but without pity and let that the spectator forget about his voice and the message goes beyond redemption. Nothing of this happen in this masterpiece.
Here, Godard told us the story of a man (Leaud, in a very Antoine Doinel aura) and woman (Beautiful yé-yé singer Chantal Goya)in 15 scenes. And the experience is breathtaking. It incorporate the politics in the sex of each one, at the end, their souls and their bodies are fulfilled of this mentality. And we believe him, because we are men and women ... and we understand it.
And of course, our characters, love be young. Love to run, to sing, to have sex, love to love and to be loved. With the thing that made BANDE À PART a great experience, MASCULINE FEMENINE is in definitive one of Godard best work. The less pretentious, enjoyable and human. Criterion got an excellent copy of it.
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