The mother of a feudal lord's only heir is kidnapped away from her husband by the lord. The husband and his samurai father must decide whether to accept the unjust decision, or risk death to get her back.
Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the ... 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 »
Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the ... See full summary »
This was the first feature by Godard after a decade spent experimenting with politics and video. It's as traditional a narrative as we have ever seen from him. The story has three parts. Denise Rimbaud (Baye) represents the imagination; she's a film editor who drops her frustrating work to find some fresh air in the Alps. Paul Godard (Dutronc) is the fearful-dependent side of most of us: he's afraid to leave the city, but can't live without Denise. Then there's business, represented by Isabelle the prostitute (Huppert).
The director, now 50 and with a flagging libido, has a field day with his sexual fantasies. The scene with the two hookers in the businessman's office is wonderfully funny, in its deadpan way it recalls Deux ou trois choses que je sais d'elle. The use of sound is more imaginative; he isn't using the montage of Beethoven quartet snippets that he often relies on. His camera moves more than in the past; there's a great slo-mo of Dutronc jumping over a table to tackle Baye, then they both collapse laughing onto the floor. The sense of freedom suddenly released is exhilarating.
17 of 24 people found this review helpful.
Was this review helpful to you?