Banned for a short while in France, Godard’s second feature boldly and stylistically depicts the moral complexities of the Algerian war, throwing audiences at the time an early political curveball.
Godard’s anarchic work of gleeful nihilism is not just a challenging treatise on the corruption and destruction of bourgeois values, but one of his most essential films about the end of civility and civilisation.
Emotions run deep in Godard’s masterwork as it charts the deterioration of a couple’s marriage whilst set against the chronic uncertainties of a movie production.
Godard’s attempt at mashing multiple genres together in a mystery-type film doesn’t really go anywhere, and in fact, the characters are ironically searching for some kind of direction.
An experimental audiovisual essay by an increasingly iconoclastic ‘90s Godard that abstractly ruminates about religion, philosophy, love and politics in the only way he can.
Continue reading →Could be one of Godard’s most beautifully-shot films, but its experimental use of unsync dialogue combined with a fragmentary and obtuse narrative makes this challenging to appreciate.
Continue reading →As esoteric and fragmentary as one would expect from late career Godard—trying to say something about the world by being impenetrable.
Continue reading →Godard’s Venice Golden Lion winner doesn’t quite work narratively, but its fragmentary melding of music, sound design and images is an interesting experiment.
Continue reading →It’s an inventive, original piece, but also a pretentious mess that struggles to sustain in what could be one of Godard’s most overrated films in his prolific first decade as a non-conforming artist.
Continue reading →Stylish and radical, this free-wheeling Godard film is entertaining and impossibly cool.
