Germany Year 90 Nine Zero
Germany Year 90 Nine Zero is a French film directed by Jean-Luc Godard and starring Eddie Constantine in his signature role as detective Lemmy Caution. This is the second film in which Godard and Constantine collaborated with the Lemmy Caution character, although it is not a sequel to Alphaville, it was the 15th and final time that Constantine would play his signature role in 40 years. The film was screened in competition at the 48th Venice International Film Festival, in which it won the President of the Italian Senate's Gold Medal; the title is a reference to the 1948 Roberto Rossellini film Germany, Year Zero Just after the fall of the Berlin Wall, Lemmy Caution roams around the city aimlessly. The film is part part documentary essay picture about German history and politics. Eddie Constantine as Lemmy Caution Hanns Zischler as Count Zelten Claudia Michelsen as Charlotte Kestner / Dora Nathalie Kadem as Delphine de Stael André S. Labarthe as Récitant Robert Wittmers as Don Quichotte Kim Kashkashian as Musician Anton Mossine as Dimitri Germany Year 90 Nine Zero on IMDb
Jean-Claude Brialy was a French actor and director. Brialy was born in Aumale, French Algeria. Brialy moved to mainland France with his family in 1942, moved to Paris in 1954, appeared in his first film in 1955, he became a star in the late 1950s when he was one of the most prolific actors of the French "nouvelle vague". He made films with such important nouvelle vague filmmakers as Claude Chabrol, Éric Rohmer, Jean-Luc Godard, Louis Malle, François Truffaut, Agnès Varda, Jacques Rozier, he was a director of a number of films, including Églantine. In his autobiographies, Le Ruisseau des singes and J'ai oublié de vous dire... he revealed that he was bisexual. He was an alumnus of the Prytanée National Militaire, he owned a restaurant, L'Orangerie, on the Île Saint-Louis, worked as a TV presenter, a singer and a radio host. Monaco: Commander of the Order of Cultural Merit Églantine Les volets clos L'oiseau rare Un amour de pluie Le Ruisseau des singes J'ai oublié de vous dire... Jean-Claude Brialy on IMDb Jean-Claude Brialy at Find a Grave
First Name: Carmen
First Name: Carmen is a 1983 film by Jean-Luc Godard. It is loosely based on Bizet's opera Carmen; the film had 395,462 Admissions in France. Carmen, in a voice over paired with shots of the city and the sea, introduces herself as "the girl who should not be called Carmen." Somewhere a string quartet is rehearsing the late string quartets of Beethoven. The eccentric Jeannot is living in a sanitarium where the doctor threatens to throw him out if he doesn't start to show signs of real illness. Carmen comes to visit him, it is revealed he is a washed up filmmaker and her lecherous uncle. After getting her Uncle Jeannot to loan her his seaside apartment and some others attempt to rob a bank. During the mayhem of the robbery, Carmen comes face to face with Joseph, a comically inept bank guard, the two fall in love; the string quartet continues to rehearse, inflecting the scenes of the robbery, vice versa. The narrative link is that one of the members of the quartet is Claire, established earlier in the film as a potential love interest for Joseph.
Carmen and Joseph retreat to Uncle Jeannot's apartment, where Carmen recalls childhood incestuous encounters. Carmen tells Joseph, quoting from Carmen Jones, "if I love you, that's the end of you." Joseph is put on trial, while Carmen escapes with Fred, the leader of her gang. In flashback, Carmen reveals to Joseph that the robbery was intended to fund a larger project, the kidnapping of "a big manufacturer," or his daughter, with a fake film directed by Uncle Jeannot meant to provide cover, a scheme that John Dillinger once perpetrated. Joseph is acquitted with the help of Claire's moral support. Meanwhile, Fred persuades Uncle Jeannot to direct the gang's film. After receiving a rose from her during the trial, Joseph reunites with Carmen at a hotel where the gang is staying, he plans to renew their relationship and to participate in the kidnapping, but Carmen seems uninterested in him and the gang ostracizes Joseph. Things go from bad to worse for Joseph as Carmen toys with a young hotel attendant, Fred directs Carmen to tell Joseph it's over, Joseph forces Carmen into an abject sexual encounter in the shower where he masturbates on her.
The day of the kidnapping arrives, is to take place in the restaurant in the hotel where the gang has been staying. Uncle Jeannot is present to direct the film, along with the string quartet and the police; as with the bank robbery, mayhem ensues. Joseph is determined to face off with Carmen alone. Leaving her for dead, the police drag Joseph away. In a stupor, Carmen asks the young hotel attendant what it's called when the innocents are on one side and the guilty on the other, when everything's been lost but you're still breathing and the sun is still rising. "Daybreak," he responds. Maruschka Detmers as Carmen X Jacques Bonnaffé as Joseph Bonnaffé Myriem Roussel as Claire Hippolyte Girardot as Fred First Name: Carmen on IMDb
Notre musique is a 2004 film directed by Jean-Luc Godard. The film reflects on violence and the representation of violence in film, touches on past colonialism and the current Israeli–Palestinian conflict, it was screened out of competition at the 2004 Cannes Film Festival. Notre musique received positive reviews from critics; the film is divided into three parts inspired by the Divine Comedy of Dante. "Realm 1: Hell" is a brief, non-narrative montage composed of appropriated documentary and narrative fictional footage depicting war and violence. The second segment, "Realm 2: Purgatory", makes up the bulk of the film. Godard, playing himself, is waiting at the airport to depart to a European arts conference in Sarajevo. There he meets Ramos Garcia, a nationalized French Israeli, going to the conference as an interpreter. Ramos is looking forward to seeing his niece at the conference, Olga Brodsky, a French-speaking Jew of Russian descent. Another young woman at the conference, Judith Lerner, a journalist from Tel Aviv, visits the French ambassador and entreats him to have an on-the-record conversation about Jewish-Palestinian relations.
She interviews the poet Mahmoud Darwish, who says that the Palestinian struggle defines Israel. In between these encounters, Judith surveys the city, visits the Mostar bridge, where she reads Emmanuel Levinas. Meanwhile, Olga attends Godard's lecture, ostensibly about the relationship between text. In addition to touching on a variety of other topics, Godard explains his opposition to the common cinematic trope of "shot/reverse shot," the cutting back and forth between two characters in a conversation or an exchange. Godard explains that presenting two characters in such a way, framed identically, regressively effaces their differences, can be used as a tool of propaganda. Olga meets with her uncle Ramos, discusses with him the philosophical problem of suicide. After the conference, Godard is back home, he gets a call from Ramos Garcia, who tells Godard about a young woman who ran into a theater and declared she had a bomb in her bag. She asked for one person to die with her for Israeli-Palestinian peace.
The police shot her. When they opened her bag, all they found were books. Garcia tells Godard. In "Realm 3: Heaven," a brief postlude, Olga wanders contemplatively through an idyllic lakeside setting that appears to be guarded by American marines; the film received positive reviews from critics. The review aggregator Rotten Tomatoes reported that 65% of critics gave the film positive reviews, based on 52 reviews. Metacritic reported the film had an average score of 77 based on 19 reviews. European Film Awards Nominated: Best Actress Nominated: Best Screenwriter San Sebastián Film Festival Won: FIPRESCI Film of the Year Notre musique on IMDb Notre musique at AllMovie Notre musique at Rotten Tomatoes Notre musique at Metacritic Notre musique at Box Office Mojo
Jean-Luc Godard is a French-Swiss film director and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement. Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, preferred the great works of the past to experimentation." As a result of such argument, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. In 1964, Godard described his and his colleagues' impact: "We barged into the cinema like cavemen into the Versailles of Louis XV." He is considered the most radical French filmmaker of the 1960s and 1970s. Along with showing knowledge of film history through homages and references, several of his films expressed his political views. Since the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, a Marxist perspective.
In a 2002 Sight & Sound poll, Godard ranked third in the critics' top-ten directors of all time. He is said to have "created one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century." He and his work have been central to narrative theory and have "challenged both commercial narrative cinema norms and film criticism's vocabulary." In 2010, Godard did not attend the award ceremony. Godard's films have inspired many directors including Martin Scorsese, Quentin Tarantino, Brian De Palma, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini. From his father, he is the cousin of former President of Peru, he has been married twice, to actresses Anna Karina and Anne Wiazemsky, both of whom starred in several of his films. His collaborations with Karina—which included such critically acclaimed films as Bande à part and Pierrot le Fou —was called "arguably the most influential body of work in the history of cinema" by Filmmaker magazine.
Jean-Luc Godard was born on 3 December 1930 in the 7th arrondissement of Paris, the son of Odile and Paul Godard, a Swiss physician. His wealthy parents came from Protestant families of Franco–Swiss descent, his mother was the daughter of Julien Monod, a founder of the Banque Paribas, she was the great-granddaughter of theologian Adolphe Monod. Relatives on his mother's side include composer Jacques-Louis Monod, naturalist Théodore Monod and pastor Frédéric Monod. Four years after Jean-Luc's birth, his father moved the family to Switzerland. At the outbreak of the Second World War, Godard was in France and returned to Switzerland with difficulty, he spent most of the war in Switzerland, although his family made clandestine trips to his grandfather's estate on the French side of Lake Geneva. Godard attended school in Switzerland. Not a frequent cinema-goer, he attributed his introduction to cinema to a reading of Malraux's essay Outline of a Psychology of Cinema, his reading of La Revue du cinéma, relaunched in 1946.
In 1946, he went to study at the Lycée Buffon in Paris and, through family connections, mixed with members of its cultural elite. He lodged with the writer Jean Schlumberger. Having failed his baccalaureate exam in 1948 he returned to Switzerland, he lived with his parents, whose marriage was breaking up. He spent time in Geneva with a group that included another film fanatic, Roland Tolmatchoff, the extreme rightist philosopher Jean Parvulesco, his older sister Rachel encouraged him to paint, in an abstract style. After time spent at a boarding school in Thonon to prepare for the retest, which he passed, he returned to Paris in 1949, he registered for a certificate in anthropology at the University of Paris, but did not attend class. He got involved with the young group of film critics at the ciné-clubs. Godard held only French citizenship in 1953, he became a citizen of Gland, canton of Vaud, Switzerland through simplified naturalisation through his Swiss father. In Paris, in the Latin Quarter just prior to 1950, ciné-clubs were gaining prominence.
Godard began attending these clubs – the Cinémathèque, the CCQL, Work and Culture ciné Club, others – which became his regular haunts. The Cinémathèque had been founded by Henri Langlois and Georges Franju in 1936. At these clubs he met fellow film enthusiasts including Jacques Rivette, Claude Chabrol, François Truffaut. Godard was part of a generation for, he has said: "In the 1950s cinema was as important as bread—but it isn't the case any more. We thought cinema would assert itself as an instrument of knowledge, a microscope... a telescope.... At the Cinémathèque I discovered a world. They'd told us about Goethe, but not Dreyer.... We watched silent films in the era of talkies. We dreame
The Little Soldier
The Little Soldier is a 1960 French film and directed by French filmmaker Jean-Luc Godard, but not released until 1963. It was Godard's first film with Anna Karina. During the Algerian War, Bruno Forestier lives in Geneva to escape the enlistment in France. Working for French intelligence, he is ordered to kill Palivoda, pro-FLN, to prove he is not a double agent. Refusal and hesitation keep him from carrying out the assassination. Meanwhile, he meets and falls in love with Véronica Dreyer, who helped the FLN. Bruno is captured and tortured by Algerian revolutionaries, he escapes, agrees to kill Palivoda for the French in exchange for passage to Brazil for himself and Véronica. However, the French discover Véronica's ties to the FLN, torture her to death; the situation in Algeria and the denunciation of the use of torture by both sides are the main themes of the movie. This led to the film being banned for three years in France; the film shows a typical theme of Jean-Luc Godard, developed in his works: interrogation about the nature of cinema and the image.
The film was banned in France until January 1963, because of the presence of torture scenes. This was Godard's second feature film; this is the first of Jean-Luc Godard's movies starring Anna Karina, who became his wife soon after the filming. She would go on to become the quintessential Godard actress; the Little Soldier has received positive reviews since release. In a retrospective review, Roger Ebert awarded it a full four stars. Le Petit Soldat on IMDb The Little Soldier at AllMovie Review of DVD of Le Petit Soldat Review of Le Petit Soldat
The Image Book
The Image Book is a 2018 Swiss avant-garde horror essay film directed by Jean-Luc Godard. Titled Tentative de bleu and Image et parole, in December 2016 Wild Bunch co-chief Vincent Maraval stated that Godard had been shooting the film for two years "in various Arab countries, including Tunisia" and that it is an examination of the modern Arabic world. Godard told Séance magazine that he was shooting without actors but the film would have a storyteller, it was selected to compete for the Palme d'Or at the 2018 Cannes Film Festival. Although it did not win the official prize, the jury awarded it the first "Special Palme d'Or" in the festival's history. According to Godard, the film is intended to be shown on TV screens with speakers at a distance, in small spaces rather than in regular cinemas, it was shown in this way during its first run at the Théâtre Vidy-Lausanne in November 2018. In line with the rest of Godard's late-period oeuvre, The Image Book is composed of a series of films and pieces of music tied together with narration and additional original footage by Godard and Anne-Marie Miéville.
Similar to his earlier series Histoire du cinéma, the film examines the history of cinema and its inability to recognise the atrocities of the 20th and 21st centuries, the responsibilities of the filmmaker and the advances in political discourse with the introduction of consumer-grade digital cameras and iPhones. The Image Book on IMDb The Image Book at Rotten Tomatoes