Screenwriter Paul Javal's marriage to his wife Camille disintegrates during movie production as she spends time with the producer. Layered conflicts between art and business ensue.
Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.
Director:
Jean-Luc Godard
Stars:
Jean-Paul Belmondo,
Anna Karina,
Graziella Galvani
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Director:
Jean-Luc Godard
Stars:
Jean-Paul Belmondo,
Jean Seberg,
Daniel Boulanger
A French striptease artist is desperate to become a mother. When her reluctant boyfriend suggests that his best friend impregnate her, feelings become complicated when she accepts.
Director:
Jean-Luc Godard
Stars:
Anna Karina,
Jean-Claude Brialy,
Jean-Paul Belmondo
A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism.
Director:
Jean-Luc Godard
Stars:
Anne Wiazemsky,
Jean-Pierre Léaud,
Juliet Berto
During a war in an imaginary country, unscrupulous soldiers recruit poor farmers with promises of an easy and happy life. Two of these farmers write to their wives of their exploits.
Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let his wife Camille drive with Prokosch and he is late, she believes, he uses her as a sort of present for Prokosch to get get a better payment. So the relationship ends.Written by
Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>
Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »
Goofs
It is possible that all "mistakes" in the film that involve visible equipment are intentional, or at least intentionally uncorrected: the film, after all, is about the artificiality of making a film, and the initial credit sequence shows filmmakers shooting the film itself. See more »
One of the great masterpieces of the 20th century, a supreme synthesis of form, content and performance. Arguably the most beautiful too, with its found locations, sets, colour, lighting, music, decor and costume. The straightforward elegance of Godard's shooting masks a story of great complexity and formal rupture, but underneath the philosophy, semiotics and allusion is a portrait of marriage and its decline. The tension between icy irony and resigned emotion results in Godard's most perversely moving film. It is also very funny, which is too little remembered.
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One of the great masterpieces of the 20th century, a supreme synthesis of form, content and performance. Arguably the most beautiful too, with its found locations, sets, colour, lighting, music, decor and costume. The straightforward elegance of Godard's shooting masks a story of great complexity and formal rupture, but underneath the philosophy, semiotics and allusion is a portrait of marriage and its decline. The tension between icy irony and resigned emotion results in Godard's most perversely moving film. It is also very funny, which is too little remembered.