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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)

Photos (See all 9 | slideshow) Videos
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 »
User Reviews:
My twentythird Godard.. 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
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 »
Movie Connections:
Referenced in Rewind This! (2013)See more »
L'AtalanteSee more »


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3 out of 4 people found the following review useful.
My twentythird Godard.., 16 April 2011
Author: chaos-rampant from Greece

Having pursued the political chimera that failed him in the 70's, Godard turned inwards. Having pursued, upon that realization, the reality of the mind, he discovers that only illusions inhabit it, and that it cannot be our saving grace nor can we truly know the world with it.

I come into these last few films in my Godard quest, with all its frustrations and rewards, for the last, transcendent leg of the journey beyond mind.

The answer by this film is no, and it further shows the limitations of what Godard had to deal with.

It's not that his creative powers, indeed his stubborness despite everything to exact moments of rare beauty out of nothing, have abadoned him or that he has outlasted his problems and inner demons because what was relevant in the 60's is very much relevant now and can still haunt as it it did then, but that as a matter of course he appears here uninspired.

So we get the old adagios on love and memory, the mind's annoying old habit of seeking truth or meaning, which we've heard elsewhere in his films in better form and proved to bring us not one step closer to a liberating awareness. We get "Every thought must recall the debris of a smile", banalities like he quoted in films like Pierrot, when he didn't know any better whereas now he does.

These things, which had led Godard earlier to realize the mind's impotence in the face of the great questions, are now mechanically, habitually repeated. Having lead nowhere then these ruminations, earlier a Socratic tool by which to interrogate the mind, now become tiresome, a purpose unto themselves. And more, the realization that wonderfully closes the Histoire(s) films, that only when life is lived in full, with all the powers available in our body, only then can life accept itself as the true answer, turns out to have been only reasoned, not truly felt. Instead of using it then as a tool of departure and reinvention by which to create a new cinema, Godard gives us more Nouvelle Vague, now mired in stagnation.

There's one marvelous touch in the film though: that present time is given to us in black and white, and the prolonged flashback that follows in the second half in garish colors. This is not a simple flashback then but memory, reality relived, which exists after the fact, always a step ahead of real life if we permit it. That is to say, if we never have memories of having remembered, memory can only take place "now", by assuming the place of reality.

Be sure how to express all that is communicated by silence and immobility, he quotes this by Robert Bresson as he did in the past. Yet he takes little from it, judging by this film. Little silence in which to meditate on the world as it is, instead more of the same old intellectual conundrums which, having been posed earlier in his work, by now should have been accepted or declined.

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