Jean-Luc Godard

Jean Luc Godard 2 or 3 things

2 or 3 Things I Know About Her By Jean-Luc Godard

2 or 3 Things I Know About Her is perhaps Godard’s most revelatory look at consumer culture, shot in ravishing widescreen color by Raoul Coutard

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Jean Luc Godard made in USA

Made in USA by Jean-Luc Godard

Jean-Luc Godard directed this brightly colored, pop-art homage to American crime cinema, which somehow finds room for extended commentary on leftist politics and the corrupt nature of advertising.

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Godrad's Masculin Femenin

Masculine Feminine by Jean-Luc Godard

With Masculin féminin, ruthless stylist and iconoclast Jean-Luc Godard introduces the world to “the children of Marx and Coca-Cola,” through a gang of restless youths engaged in hopeless love affairs with music, revolution, and each other.

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Pierrot le Fou

Pierrot Le Fou by Jean-Luc Godard

Godard’s Pierrot Le Fou is blissful with color imagery by cinematographer Raoul Coutard. It is one of the high points of the French New Wave, and was Godard’s last frolic before he moved ever further into radical cinema.

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Tout Va Bien by Jean-Luc Godard

France  |  1972  |  96 minutes  |  Color
www.criterion.com

SYNOPSIS: In 1972, newly radicalized Hollywood star Jane Fonda joined forces with cinematic innovator Jean-Luc Godard and collaborator Jean-Pierre Gorin in an unholy artistic alliance that resulted in Tout va bien (Everything’s All Right). This free-ranging assault on consumer capitalism and the establishment left tells the story of a wildcat strike at a sausage factory as witnessed by an American reporter (Fonda) and her has-been New Wave film director husband (Yves Montand). Tout Va Bien is a masterpiece of radical cinema, a caustic critique of society, marriage, and revolution in post-1968 France.

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Vivre Sa Vie by Jean-Luc Godard

1962 | French
www.criterion.com

Vivre sa vie, made in 1962, was the fourth of Jean-Luc Godard’s films. His source was a journalistic account of prostitution in France, and in this as in so many matters, he was self-consciously echoing the American directors he admired, such as Samuel Fuller, whose Underworld U.S.A. (1961) was based on a series of articles in the Saturday Evening Post. Also like Fuller, he didn’t exactly limit himself to a literal adaptation of his source material.

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