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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 »

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Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.

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An examination of sexual relationships, in which three protagonists interact in different combinations.

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Divided into three "kingdoms" -- Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise) -- Notre Musique is an indictment of modern times.

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An analysis of the power relations in an ordinary family.

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Director: Jean-Luc Godard
Stars: Jean-Luc Godard, Sabine Azéma
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Cast

Cast overview, first billed only:
...
Lui / Roger Lennox / Richard Lennox
...
Elle: Elena Torlato-Favrini
Jacques Dacqmine ...
Le PDG
Christophe Odent ...
Raoul Dorfman, l'avocat
Roland Amstutz ...
Jules, le jardinier
Cécile Reigher ...
La serveuse
Laurence Côte ...
Cécile, la gouvernante
Joseph Lisbona ...
Le docteur
Véronique Müller ...
L'amie de Raoul 1
...
Robert, aka Bob
Belkacem Tatem
Violaine Barret ...
Yvonne, la femme du jardinier
Hubert Ravel ...
Laurent
Laurence Guerre ...
La secrétaire
Pascal Sablier ...
Le client iranien
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Drama

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Release Date:

23 May 1990 (France)  »

Also Known As:

New Wave  »

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Trivia

It has been claimed that every line of dialogue in this film is a quotation. See more »

Connections

References World on a Wire (1973) See more »

Soundtracks

Crossing
by Paul Giger
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User Reviews

 
Godard boldly suggests a new relationship b/w sound & image
2 September 2000 | by (Chicago, IL) – See all my reviews

Godard's (or anyone's) greatest film features fading matinee-idol Alain Delon and the beautiful, enormously talented Domiziana Giordano as archetypal Man and Woman at the end of the twentieth century. The image track tells one story (a narrative involving characters who gradually swap dominant and submissive relationship roles) and the sound track another (the dialogue consists almost entirely of literary quotations from Dante to Proust to Rimbaud to Raymond Chandler, etc.) yet both frequently intersect to create a rich tapestry of sight & sound. Godard uses dialectics involving man and woman, Europe and America, art and commerce, sound and image & upper and lower class to create a supremely beautiful work of art that functions as an affirmation of the possibility of love in the modern world (and a new poetics of cinema) and that also serves as a curiously optimistic farewell to socialism. Unusual for late-Godard is the constantly tracking and craning camera courtesy of the peerless William Lubtchansky.


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