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 »
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 »
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 »
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 »
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 »
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 contains references to various pop culture icons and political figures around that time, such as Charles de Gaulle and André Malraux to James Bond and Bob Dylan. See more »
How's it going?
[Seated at cafe table]
I'm saying things are terrible until 10:00.
[To the waiter]
It's 10.05 now.
Really? Then everything's all right.
See more »
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 »
Godard's MASCULINE FEMININE is a very difficult film to discuss for those of us who saw it when we were young, and felt an immediate correspondence to the film. In 1966, MASCULINE FEMININE seemed to sum up our feelings: our interest in (radical) politics, our passion for forms of pop culture (especially pop music), our friendships. Godard was the filmmaker who seemed to be making films in the "now", just as soon as events happened. Protests over the Vietnam War raged everywhere, and Godard puts those in the film. On a personal level, the birth control pill was just starting to make its way on the market, and this was also shown.
But it wasn't just the immediacy that marked Godard's films as special, it was the sense of love that envelopes the film. The close-ups of Jean-Pierre Leaud, Chantal Goya, Marlene Jobert and all the others seem to catch these young people at their most vulnerable, their most charming, and their loveliest. Godard seemed genuinely concerned, fascinated, and enthralled by these young people. Of course, there are some difficulties (the ending is like a punch in the stomach; in the interview with Chantal Goya which is an extra on the Criterion Collection DVD, Goya reveals that the Godard insisted on the ending, because he wanted the contrast between Goya's childlike beauty and the horror of what she's saying), but it is a film which still maintains its hold on the affections of so many who loved the film in their youth. And i think the film is like a time capsule, and has much to show new audiences about a special time in the 20th Century.
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