Movie Stills
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
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.
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.
Arabian Nights by Pier Paolo Pasolini
The film is an adaptation of the ancient Arabic anthology The Book of One Thousand and One Nights, better known as The Arabian Nights. It is the last of Pasolini’s “Trilogy of Life”, which began with The Decameron and continued with The Canterbury Tales
Teorema by Pier Paolo Pasolini
In Teorema, the actors don’t act, but simply exist to be photographed. The movie itself is the message, a series of cool, beautiful, often enigmatic scenes that flow one into another with the rhythm of blank verse.
Europa By Lars Von Trier
“You will now listen to my voice . . . On the count of ten you will be in Europa . . .” Europa is one of the great Danish filmmaker’s weirdest and most wonderful works, a runaway-train ride to an oddly futuristic past.
Fahrenheit 451 by François Truffaut
François Truffaut’s Fahrenheit 451 brings Ray Bradbury’s big-brother world into crisp focus, employing a thought-provoking production design full of muted technicolor and almost entirely devoid of written language — even the opening credits are spoken. The
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.
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.
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.
Madeinusa by Claudia Llosa
Spain-Peru | 100 Minutes
www.filmmovement.com
PLEASE NOTE: This movie has beautiful photography however, the story depicts awful stereotypes about indigenous people in South America. On the contrary, Claudia Llosa’s second movie, “The Milk of Sorrow” is a great movie that shows in a respectful and empowering way some of the horrors indigenous people faced during Peru’s decades of civil strife and it’s consequences now a days.
Madeinusa is a girl aged 14 with a sweet Indian face who lives in an isolated village in the Cordillera Blanca Mountain range of Peru. This strange place is characterized by its religious fervor. From Good Friday at three o’clock in the afternoon (the time of day when Christ died on the cross) to Easter Sunday, the whole village can do whatever it feels like. During the two holy days sin does not exist: God is dead and can’t see what is happening. Everything is accepted and allowed, without remorse. Year after year, Madeinusa and her sister Chale, and her father Don Cayo, the Mayor and local big shot, maintain this tradition without questioning it. However, everything changes with the arrival in the village of Salvador, a young geologist from Lima, who will unknowingly change the destiny of the girl.
Claudia Llosa’s Madeinusa Movie Stills