A young mute woman, living in a small village, is expecting a baby. Her husband is at the same time writing a novel and using the villagers as his characters. In the creative process, reality and imagination are constantly intertwined.
How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to ... See full summary »
In the near future, leftist writer Paula goes from Paris to the French town of Atlantic-Cité when she learns of the death of a former colleague and lover, Richard P. Is she there to ... See full summary »
The intertwined lives of two women in 1970s France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne ... See full summary »
A collection of sketches on prostitution through the ages. 1) "The Prehistoric Era": A caveman discovers that a cavewoman is more attractive when cave paint is applied to her face. And she ... See full summary »
In this year of Bush vs. Kerry, when the campaign turns on issues of patriotism and war service, it is fascinating to go back to the Vietnam war to see the conflicts that rent American society of that time. The genesis of the film is interesting: the French public had been asked to give up a day's wages to help the Vietnamese people; finding this insufficient, Chris Marker had the idea of making a sketch film to protest the war. The problem is that the project was a collective effort: there are no credits to indicate who filmed what.
Resnais's sketch has a funny story of a stock shot of war atrocity that has been used so often that technicians call it "Gustave," and viewers look for it. Otherwise this is a silly, talky timewaster. The Godard sketch is even less effective--he uses footage from La Chinoise, the film he was working on at the time. Godard must have spent all of one afternoon on this. The purely documentary scenes come off best. The footage from the 50's must have been shot by Joris Ivens; it's wonderfully atmospheric. I wonder if he also shot the film on the American aircraft carrier as the sailors load the bombs onto the bombers that will pulverize Hanoi.
The best scenes of all were shot in New York; they show protesters from both sides of the ideological divide yelling their lungs out across police barricades. Every group and sub-group that could be imagined is represented here, and sometimes it's really funny to watch. Pity about the lack of credits.
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