Jean-Luc Godard

Godard shot it in twenty-three days, writing each morning’s dialogue in a notebook nobody was allowed to read, while his cameraman filmed the streets from inside a postal cart with a hole cut for the lens. Cinema had rules before it, and possibilities after. Belmondo, Seberg and anarchy on film. — After killing a policeman on a country road, Michel heads for Paris, where he looks up Patricia, an American who sells newspapers on the Champs-Élysées, and tries to persuade her to go to Italy with him. Patricia can’t make up her mind. Meanwhile, the police are closing in. — Best Director | Berlin International Film Festival | 1960 Nomination for Best Foreign Actress (Jean Seberg) | BAFTA Awards | 1960

Jean-Luc Godard’s film about cinema and love watches the marriage of Brigitte Bardot and Michel Piccoli shatter. The bed scene was only shot because the producers complained it wasn’t racy enough, and Fritz Lang plays himself, a director set on filming “The Odyssey” long before Nolan. — Paul Javal writes plays in Rome but pays the bills with screenplays, so when an American producer wants rewrites on an adaptation of Homer’s “Odyssey”, he takes the work. When the producer whisks Paul’s wife off to his villa in a sports car, Paul doesn’t object. Back at their flat, Camille tells her husband she no longer loves him.

Jean-Paul Belmondo and Anna Karina hit the road for the Mediterranean in a crime film, road movie and satire rolled into one. Jean-Luc Godard naturally had no script, only a heart full of poetry and rebellion. Watch it as one line asks: you talk to me with words, and I look at you with feelings. — In Paris, Ferdinand can’t stand his marriage or the party he’s been made to go to, so he leaves it with Marianne, who used to be his family’s nanny. In her flat there’s a dead body, and armed men are on her trail. By dawn the two of them are driving someone else’s car towards the Mediterranean, without any kind of plan. — Official Selection | Venice Film Festival | 1965