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.
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.
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.
A short film utilizing Google Maps' StreetView feature where Jean-Luc Godard and Anne-Marie Miéville are captured walking the streets of Switzerland. Set to music from Godard's film "Contempt" composed by Georges Delerue.
Anne-Marie Miéville, born November 11, 1945 in Lausanne, is a filmmaker, director, producer, screenwriter, actress and writer from Vaud. Anne-Marie Miéville works as a photographer and is the manager of a bookstore. In the 1960s, she also recorded two variety discs for Barclay, on songs by Jean-Jacques Debout. Then in 1972, she met Jean-Luc Godard in Paris, who became her companion until his death in 2022. Initially, from 1973 to 1994, she collaborated with this filmmaker as a photographer, screenwriter, editor, co-director and artistic director for some of her/their films. Then in 1983, she directed her first short film, "How Can I Love", and, a year later, a second short film, "Le Livre De Marie". Since then, she has continued to make films. Through her cinematographic stories, she questions, with a singularity of tone, love, time, the meaning of things, ... Her first feature film is called: "My Dear Subject" and was released in 19883. 1994 "Lou Didn't Say No". Still in 1994, Anne-Marie Miéville published "Histoire Du Garçon", a text retracing the career and life of her brother Alain, who died accidentally in 1993. In 1996/1997, a new feature film was broadcast, "Nous Sommes Tous Encore Here". Then in 2000, "Après La Réconciliation" in which she appeared, accompanied by Claude Perron, Jacques Spiesser, Jean-Luc Godard and Xavier Marchand. In 2002, she wrote "Images In Words", short texts published by Farrago, which the publisher wrote were "a series of fixed shots, short films of writing. Strictly speaking, it is not a question of news, but rather of indescribable moments, fleeting perfumes of images, where it would be a question of filming with words”.
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