Tagged Jean-Luc Godard

An admitted anti-Zionist with a history of ardent support for Palestinian opposition to Israel, Jean-Luc Godard frequently uses his films as a forum in which to ruminate on this contentious political conflict. ...

Jean-Luc Godard’s Prénom Carmen (First Name: Carmen, 1983) is the third film, after Sauve qui peut (la vie) (Every Man for Himself/Slow Motion, 1980) and Passion (1982), in a busy period in the 1980s that boldl...

Deux ou trois choses que je sais d’elle (Two or Three Things I Know About Her, 1967) is a very special entry in the remarkable filmography of Jean-Luc Godard, a figure I believe Geoffrey Nowell-Smith is justifi...

Samuel Bréan, founding member of the French Association of Audiovisual Translators, offers some absorbing insights in to Godard’s subtitling strategies.

Taking the three films Made in USA, La Chinoise and Tout va bien as a focus, Drew Morton looks at how Jean-Luc Godard (and Jean-Pierre Gorin in the latter case) engaged with the art of the comic strip.

Roland-François Lack provides an informative lexicon to this early masterpiece by Godard.

Published here for the first time in English, translator Sally Shafto provides a brief context for the two pieces that follow by Antoine and Christophe Bourseiller on their encounters with Godard.

A chapter from Bourseiller’s memoir Sans relâche: Histoires d’une vie which offers a rich and moving account of his friendship with Godard.

Some salient passages from Christophe Bourseiller’s memoirs on growing up in the 1960s. Christophe is one-time child actor for Godard, Maoist and Situationist.

Histoire(s) du cinéma (1988-1998 France/Switzerland 265 Mins) Program 1a: “Toutes les historie(s)” (“All the stories”) 51 mins; Program 1b: “Une histoire seule” (“A Lone story”) 42 mins; Program 2a: “Seu...

Tom Luddy was the principal conduit for almost all of Godard’s forays into the North American film scene. From Godard’s ‘Dziga Vertov’ tours to his association with Francis Coppola’s Zoetrope, Luddy played a crucial role.

Reflections on Jean-Luc Godard’s 1969 essay-film and his avowed “return to zero” as a filmmaker.