In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.
Ben Santhanaraj journeys to Sri Lanka to rekindle his relationship with Suzanne Hopper, an American NGO worker, after a long separation. But when Suzanne's boss demands she work during their vacation, their love is tested by a dilemma: desire versus duty. As Suzanne struggles with the responsibilities of her job, Ben tries everything to revive their intimacy, leading to candid conversations and chaotic twists as New Year’s Eve - and Ben’s departure - looms ahead.
Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.
Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.
Godard by Godard is an archival self-portrait of Jean-Luc Godard. It retraces the unique and unheard-of path, made up of sudden detours and dramatic returns, of a filmmaker who never looks back on his past, never makes the same film twice, and tirelessly pursues his research, in a truly inexhaustible diversity of inspiration. Through Godard’s words, his gaze and his work, the film tells the story of a life of cinema; that of a man who will always demand a lot of himself and his art, to the point of merging with it.
Fourty-six years since the release of Le mépris, Jean-Luc Godard watches the film again to comment on it and its tumultuous production. Featuring interviews with: Jacques Rozier, Alain Bergala, Michel Piccoli, Charles Bitsch.
Rebels on the surface, retrogrades in essence. “The Ridiculists”, a duo composed of the eccentric and explosive, “The Ridiculer”, and his faithful squirer, “The Talker”, roam through the Brazilian capital breaking into homes, committing murders, as they create a legion of blind supporters along the way.
HE is an ACTOR, SHE is an ACTRESS... But this... Is not important to the story.
