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Godard Mon Amour (2017)

Le Redoutable (original title)
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1:57 | Trailer
In 1967, during the making of "La Chinoise," film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.

Writers:

Michel Hazanavicius (script by), Anne Wiazemsky (adapted from the novel "Un an après" by)
9 nominations. See more awards »

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Cast

Cast overview, first billed only:
Louis Garrel ... Jean-Luc Godard
Stacy Martin ... Anne Wiazemsky
Bérénice Bejo ... Michèle Rosier
Micha Lescot ... Bamban
Grégory Gadebois ... Michel Cournot
Félix Kysyl Félix Kysyl ... Jean-Pierre Gorin
Arthur Orcier Arthur Orcier ... Jean-Henri Roger dit Jean-Jock
Marc Fraize Marc Fraize ... Emile
Romain Goupil Romain Goupil ... Le flic cinéphile
Jean-Pierre Mocky ... Le client du restaurant
Guido Caprino ... Bernardo Bertolucci
Emmanuele Aita Emmanuele Aita ... Marco Ferreri
Matteo Martari Matteo Martari ... Marco Margine
Stéphane Varupenne Stéphane Varupenne ... Le publicitaire Eric de la Meignière
Philippe Girard Philippe Girard ... Jean Vilar
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Storyline

Paris, 1967. Jean-Luc Godard, the maker of "A bout de souffle", "Le Mépris" and "Pierrot le fou", idolized by critics and intellectuals, is shifting from revolutionizing cinema to becoming a revolutionary tout court. Isn't he shooting "La Chinoise", more a political tract in favor of Maoism than an actual movie? His female star is Anne Wiazemsky, writer François Mauriac's granddaughter, sixteen years his junior. Anne and Jean-Luc have been dating since 1966 and they marry this very year. She admires Jean-Luc's originality, intelligence, wit and boldness while he loves Anne's freshness and - admiration of him. But May 1968 puts their marriage to the test. Godard, who is more and more involved in the revolution, indeed becomes less and less available to his young wife, which does not prevent him from acting jealous. It also looks as if the genius is losing his sense of humor. Written by Guy Bellinger

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for graphic nudity, sexuality, and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site [Japan]

Country:

France | Myanmar

Language:

French | English | Italian

Release Date:

13 September 2017 (France) See more »

Also Known As:

Godard Mon Amour See more »

Filming Locations:

Paris, France See more »

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Box Office

Budget:

EUR11,110,000 (estimated)

Opening Weekend USA:

$10,994, 22 April 2018

Gross USA:

$82,264

Cumulative Worldwide Gross:

$1,329,016
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital (as Dolby 5.1)

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

French visa # 144990. See more »

Quotes

Jean-Luc Godard: Politics is like shoes. There's a left and a right, but eventually you will want to go barefoot.
See more »

Connections

References The Grapes of Wrath (1940) See more »

Soundtracks

Cuando calienta el sol
Written by Rafael Gastón Pérez (uncredited), Carlos Rigual (uncredited), Mario Rigual (uncredited) and Carlos A. Martinoli (uncredited)
(1962)
See more »

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User Reviews

 
Formidable
13 September 2018 | by ferdinand1932See all my reviews

Godard is not the sort of typical subject for a film. To say he lacks empathy, that he assaults the cosy preconceptions of much cinema and its audiences, is well-known.

At the time of this film he was undergoing a transition: he renounced his break-through films, he was intensely political in that celebrity French style which is often more pose and belles-lettres, than real accomplishment, a fact made clear in this film.

To present him in that anodyne fashion which Hollywood does, which is essential deceitful, as say "A Beautiful Mind" and many other movies, would be truly dishonest but fortunately this film does not do that. It is quite a good presentation of that period, both socially-politically and personally.

The film's style naturally, almost logically, had to be á la Godard, in some way, and it works without being pastiche. At times it pushes a little far but mostly enough to give that sense of how Godard's films looked at that time and before.

This is especially true of the interiors, a favorite setting and device of Godard's in the 1960s, where he had couples discuss and debate as they moved about apartments. Here the famous sequence in "Contempt" when Piccoli and Bardot's marriage ended is almost reprised as Godard and Wiazemsky's relationship shatters. The inspirational touch in this film was to add Richard Strauss's luscious but fatalistic song, Im Abendrot (At Sunset), over this sequence.

The performances are all done well. A little more lisp from Garrel's Godard perhaps, but really, technically and the overall production, the whole movie looks just right.

Well worth the time and a reminder that once films, and cinema generally, actually mattered socially and politically.


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