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Éloge de l'amour
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In Praise of Love (2001) More at IMDbPro »Éloge de l'amour (original title)

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In Praise of Love -- An artistic vision of love in this trailer for the Godard film


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Release Date:
16 May 2001 (France) See more »
In part one there is talk of a project on the subject of love, with the example of three couples, one young... See more » | Add synopsis »
2 wins & 3 nominations See more »
(4 articles)
Cinema at 33 1/3 Rpm
 (From MUBI. 1 June 2015, 4:49 AM, PDT)

Jean-Luc Godard won't travel to accept honorary Oscar
 (From The Guardian - Film News. 7 September 2010, 3:07 AM, PDT)

Asian films lead best-of-decade poll
 (From The Hollywood Reporter. 23 November 2009, 12:00 PM, PST)

User Reviews:
Godard begins the new millennium with one of his greatest works yet. See more (39 total) »


  (in credits order)
Bruno Putzulu ... Edgar
Cécile Camp ... Elle
Jean Davy ... Grandfather
Françoise Verny ... Grandmother
Audrey Klebaner ... Eglantine
Jérémie Lippmann ... Perceval
Claude Baignières ... Mr. Rosenthal
Rémo Forlani ... Mayor Forlani
Mark Hunter ... U.S. Journalist
Jean Lacouture ... Historian
Philippe Lyrette ... Philippe, Edgar's Assistant
Bruno Mesrine ... Magician
Djéloul Beghoura ... Algerian (as Djelloul Beghoura)
Violeta Ferrer ... Woman 1
Valérie Ortlieb ... Woman 2
Serge Spira ... Homeless Man
Stéphanie Jaubert ... Young Girl
Jean-Henri Roger ... Mayor Forlani's Aide
Lemmy Constantine ... U.S. Assistant
William Doherty ... U.S. Official

Hocine Choutri ... L'homme qui court
rest of cast listed alphabetically:

Marie-Françoise Audollent

Ludovic Berthillot ... Le clochard
Laurence Colussi
Marceline Loridan Ivens ... Woman in movie theatre
Noël Simsolo
Ysé Tran ... Maid
Marie Desgranges ... Woman on a bench in Paris (uncredited)

Directed by
Jean-Luc Godard 
Writing credits
(in alphabetical order)
Jean-Luc Godard 

Produced by
Alain Sarde .... producer
Ruth Waldburger .... producer
Cinematography by
Julien Hirsch 
Christophe Pollock 
Film Editing by
Raphaele Urtin  (as Raphaëlle Urtin)
Casting by
Stéphane Foenkinos 
Costume Design by
Marina Thibaut 
Production Management
Joseph Strub .... production manager
Second Unit Director or Assistant Director
Fleur Albert .... assistant director
Gilbert Guichardière .... first assistant director
Aurélien Poitrimoult .... first assistant director
Christophe Rabinovici .... assistant director
Sound Department
Olivier Burgaud .... boom operator
Gabriel Hafner .... sound
Christian Monheim .... sound
François Musy .... sound
Jean-Alexandre Villemer .... sound recordist
Camera and Electrical Department
Emmanuelle Collinot .... assistant camera
Léo Mac Dougall .... assistant camera
Olivier Regent .... gaffer
Editorial Department
Richard Deusy .... colorist
Music Department
Ketil Bjørnstad .... composer: stock music (as K. Bjornstad)
David Darling .... composer: additional music (as D. Darling)
Karl Amadeus Hartmann .... composer: stock music (as KA. Hartmann)
Maurice Jaubert .... composer: stock music (as M. Jaubert)
Arvo Pärt .... composer: stock music (as A. Part)
Georges Van Parys .... composer: stock music (as G. Van Parys)

Production CompaniesDistributorsOther Companies
  • L.T.C.  acknowledgement (as LTC)
  • S.I.S.  acknowledgement (as SIS)
  • VDM  acknowledgement

Additional Details

Also Known As:
"Éloge de l'amour" - France (original title)
See more »
Rated PG for thematic elements and brief language
97 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

American Beauty (1999) can be heard playing in the background of one of the scenes.See more »
L'AtalanteSee more »


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9 out of 11 people found the following review useful.
Godard begins the new millennium with one of his greatest works yet., 16 March 2008
Author: Graham Greene from United Kingdom

In 1961, Jean-Luc Godard directed Une femme est une femme; a full colour pastiche of the contemporary relationship foibles of a troubled young couple at the heart of swinging-sixties Paris. Starring Godard's own former wife and muse Anna Karina in the lead role, it saw the filmmaker at his most joyous and creative; resulting in a finished film that was not only 'in praise of love', but very much in love with its characters and the presentation of the film itself. Forty years on however and Godard found himself looking once again at the subject of love with Éloge de l'amour (2001), a film that claims to be 'In Praise of Love', but is actually quite the opposite.

Presenting a melancholic view of love that is as bewildering as the emotion itself, Éloge de l'amour opens in a monochromatic Paris that brings to mind the beauty and grandeur of Godard earlier classics, such as À bout de soufflé (1959) and Bande à part (1964). Enticing it's viewers into a world of jarring contradictions, a varied selection of characterless characters who shuffle through the streets like empty vessels dying without soul, and some of the most intense uses of cinematic composition ever seen; 'Éloge de l'amour' successfully draws us into a labyrinthine underground of dreams, thoughts, desires and hopes; never quite sure where one ends and one begins. Here, we are constantly being forced to look at the film more closely than we normally would, searching for some kind of clue to unlock the images and scenes that are being offered to us, in a way that manages to reference the full spectrum of Godard's work; from the aforementioned romanticism of Une femme est une femme, through to the Brechtian-like alienation techniques of Week End (1967), and on to the blending of the two with Slow Motion (1980).

Being Godard of course, the film also throws us some political ideology and some valid arguments against Hollywood film-making and its strangle-hold like monopoly on the idea of what cinema really is. Those raised outside of the US will no doubt agree with Godard's allusions to Hollywood re-writing history to serve as entertainment, as we grow up in a world where films like The Patriot (2000), Braveheart (1995), Titanic (1997) and Pearl Harbour (2001) are becoming educational tools to a generation who derive little pleasure from reading books or researching history. Godard understands the importance of historical accuracy in cinema and makes the points clear (one scene in particular stands out; a scene in which an elderly man and a young couple stand outside a cinema, the old man looking at the publicity poster for Robert Bresson's Pickpocket, whist the young couple completely ignore it, more interested in an advert for The Matrix). Is Godard trying to suggest that an ignorant youth will someday slowly discard what has come before? Or is he simply showing us the cinematic climate as it is now? Éloge de l'amour is never relaxed in its messages; sometimes bordering on the same kind of inconstant ranting that for many destroyed the intensity of a film like Week End. Yet Godard curiously restrains himself here, and, with the last thirty-minutes of the film, makes his attack clearer, and more concise.

Photographed in vibrantly coloured digital-video, over-saturated and manipulated, the end of the film seems much more human in comparison to the cold, black and white "pure cinema" appeal of the first hour. The focus of this segment is people; elderly people for that matter, at odds with a world and culture they no longer understand. The gesture here is touching, not only because of the way its shot and acted, but because it draws a beautiful parallel with the now seventy-something Godard's own thoughts and ruminations on life. Éloge de l'amour is certainly not easy going; it's uncompromising, jarring, distant, elusive, alienating and for the most part, hard to follow. It has a bleak and broken down view of life which creates a sour undercurrent to the optimism of the title. This is not a film that praises love; this is a film that is trying to come to terms with love in a society and culture that is slowly bastardising the word into something devoid of deeper meaning, and searching for that meaning on a horizon filled with broken vessels and broken dreams. No matter what your opinion of him, Godard has, with this film, created a cinematic dream that requires the viewer to invest some time and thought into the experience.

Think of the significance of the interspersed black screens, the recurrence of the title caption, and what is achieved with the switch from monochrome stock to colour video. These are all just part of a single interpretation, but there is a joy that comes from looking at a film and being challenged to think about it. Éloge de l'amour is a film that never quite makes sense and is often hard to watch, but you thank god for its existence. Whether you see Godard as a filmmaker passed his peak and nearing the end, or whether you believe that with this film he is working up to something bigger and better - something that will bring back the magic of his early works - you can rejoice in the fact that Éloge de l'amour is every bit as intelligent, challenging, thoughtful and emotional as anything he created before.

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This movie is deep higgs_boson
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