How do you craft the portrait of Jean-Luc Godard, or better yet a portrait of his methodology, his universe, his way of constructing or deconstructing cinema, that is equal to his own cinematic audacity and genius? How could it be anything other than by taking risks, and trying out equally radical methods, never straying from to his example. The two filmmakers immerse us into the storage warehouse where, in 2010, all the archives kept by Godard in Switzerland were transferred, and they create a doppelganger (or a duplicate) of the director, who takes up the role of our guide into his world. Excerpts from his writings, his images, his perspective in cinema give us a glimpse into his mythology, his techniques, his singular gaze, and therefore also in his worldview.

Title drawn from a passage in 'Swann's Way.' A short bricolage film combining: digital abstractions from the only known film footage of Marcel Proust, intimate documentary video shot on iPhone over two years between North Carolina and New York City, music by Gabriel Fauré, and a brief audio excerpt of Jean-Luc Godard speaking on 'The Dick Cavett Show.'

Rejecting the billions of alphabetic diktats to liberate the incessant metamorphoses and metaphors of a necessary and true language by re-turning to the locations of past film shoots, while keeping track of modern times.

Fascinated by the already legendary filmmaker, as a teenager Thomas dreamed of becoming his assistant. He wrote to JLG and asked him if he could "look over his shoulder" while he is at work. JLG never answered. Rejected by the master, the teenager must now find his own way as a filmmaker until that day in 2021 when he senses JLG's end is near. Thomas decides to visit the master. On foot. A pilgrimage to pay his (last) respects.His aim is to meet JLG in person. Thomas Imbach dreams of filming not the master, but WITH the master, for which reason d, he has packed his Aaton camera in his backpack. The closer he gets to Lake Geneva, the more intense his emotions, his anxiety, his uncertainty. SAY GOD BYE is the story of an obsession; it is also a story about the universal theme of love. It is the story of a man who finally summons the courage to seek out his beloved, to tell him face to face about his lifelong love and to say, “Thank you, JLG”.

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.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art. (Abridged version of the original collection of eight short films).

The film is a record of interviews of Godard’s films by two young aspiring directors, a Korean and a French, visiting Godard’s studio in 2002. It consists of questions and answers about the way of cinematically thinking, working method, and filmmaking of Godard, who has constantly created a new language for cinema.

"We should start with a correspondence, maybe we will not correspond to one another. Ebrahim can send me a letter this Friday, and I'll answer him next Friday. So, see you Friday, Robinson!" And so, Jean-Luc Godard stages himself in his daily thought, wisely desperate, and sends images and words from Switzerland to the other side of the Channel. In his mansion in Sussex, Ebrahim Golestan tries to decode these UFO-messages and skilfully seeks to bring them back to the appearance of reason. And so on, until the day a veil falls over the two Gods on the run. Does the existence of poets still have any meaning in these times of distress?

During the quarantine promoted by the Coronavirus, hundreds of videos posted on Darwin's personal Instagram become a biased diary of our time, of the last 10 years and, at the same time, a deep dive into his being, a dive for those who see and for those who made, an experience of discovery, resistance and contemplation, for both sides.

1951. André Bazin and Jacques Doniol-Valcroze founded "Cahiers du cinéma". With contributions from self-taught filmmakers (Jean-Luc Godard, François Truffaut, Claude Chabrol, Éric Rohmer, Jacques Rivette...), the magazine revolutionized film criticism and gave birth to the leading figures of the Nouvelle Vague.

For Jean-Luc Godard, with all the admiration and affection of Jacques Perconte and Nicole Brenez. December 3, 2020.

Born in Berlin in 1896, Lotte Eisner became famous for her passionate involvement in the world of both German and French cinema. In 1936, together with Henri Langlois, she founded the Cinémathèque Française with the goal of saving from destruction films, costumes, sets, posters, and other treasures of the 7th Art. A Jew exiled in Paris, she became a pillar of the capital's cultural scene, where she promoted German cinema.

A short film by Joel Nguyen, made for his mother. Influenced from Agnès Varda

A short film by Joel Nguyen, made for his mother. Influenced from Agnès Varda

Major actress of the New Wave, Anna Karina is bound to the great renewal of cinema in the 1960s. Her companion in life, Dennis Berry revisits the story of her memories with Jean-Luc Godard and the great directors she knew, her memorable meeting with Serge Gainsbourg, and also, more recently, her career as a singer. With a gaze halfway between mischief and severity, the New Wave's Danish muse embodied a new feminity – deeply linked with women's liberation.

A Jean-Luc Godard course in Nanterre Amandiers.

This short film is Godard’s message to the people of Lausanne, specifically journalist and critic Freddy Buache, addressing his reasons why he will not make a film about their town’s 500th anniversary. Rather than cynical or defensive, Godard's bemused narration of the footage of Lausanne is imaginative and even playful, a rumination on cinema's possibilities.

This documentary recounts the life of the late composer Michel Legrand, known for his works on Les Parapluies de Cherbourg or Les Demoiselles De Rochefort with the famous director Jacques Demy.

In 2010, Godard's Film Socialisme explores the sinking of political ideals in Europe. In 2012, the Costa Concordia, which had served as an allegorical platform for Godard, sank in front of the cameras of passengers and the world. In 2018, Paul Grivas Film Catastrophe, looks at images of the disaster to revisit the film factory

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.

The author of the official spot of the 22nd Ji.hlava IDFF 2018 is the renowned Swiss/French New Wave director Jean-Luc Godard.

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.

With more than 70 films and 160 million cumulative tickets in France, Jean-Paul Belmondo is one of the essential stars of French cinema.

Director Agnès Varda and photographer/muralist JR journey through rural France and form an unlikely friendship.

An inquiry into two of the most influencial French filmakers friendship and feud.

Filmmakers discuss the legacy of Alfred Hitchcock and the book “Hitchcock/Truffaut” (“Le cinéma selon Hitchcock”), written by François Truffaut and published in 1966.

Jean-Luc Godard's acceptance video for the 2015 'Prix d’honneur'.

At the end of the 1960s the post-war generation began to revolt against their parents. This was a generation disillusioned by anti-communist capitalism and a state apparatus in which they believed they saw fascist tendencies. This generation included journalist Ulrike Meinhof, lawyer Horst Mahler, filmmaker Holger Meins as well as students Gudrun Ensslin and Andreas Baader.

A silent, surreal parallel between a couple and a dog.

Rather than writing a simple letter to explain his absence from the press conference for his latest Cannes entry, "Goodbye to Language," at the Cannes Film Festival, instead, legendary filmmaker Jean-Luc Godard created a video "Letter in motion to (Cannes president) Gilles Jacob and (artistic director) Thierry Fremaux." The video intercuts from Godard speaking cryptically about his "path" to key scenes from Godard classics such as "Alphaville" and "King Lear" with Burgess Meredith and Molly Ringwald, and quotes poet Jacques Prevert and philosopher Hannah Arendt.

Short film originally made as part of the anthology film, 3x3D. Jean-Luc Godard's first 3-D film interrogates the history of the technology and explores its possibilities.

A collaborator since 2002 (Notre Musique), Fabrice Aragno did not want to make a documentary ‘on’ but ‘with’ Jean-Luc Godard. The latter decided on a mathematical approach. The TV station asked for 26 minutes, and so Godard suggested they make 26 one-minute sequences, and have 4 shots in each sequence, all recycled from his work.

More than 150 silent short films about singers, actors and directors captured during Press Conferences in Cannes, Venice and Berlin, between 1993 and 2002. Presented the first time in 2012 (ten years after the last shooting) in Napoli Film Festival and in 2013 at the Art Institute of California in Santa Ana. An anthropological experiment on the facial expressions of famous people showing the human being aspect. All original footage from Mel Gibson to Peter Jackson, from George Lucas to Catherine Deneuve, from Michael Douglas to Giancarlo Giannini and many others.

The film retraces Jean-Luc Godard's notorious exhibition at the Centre national d'art et de culture Georges Pompidou in Paris between 11 May – 14 August 2006.

Documentary by Luc Lagier exploring Godard's career as a filmmaker, the production of Breathless and his influence and his relationship with American cinema.

In 2009, in a small theater in Geneva, Switzerland, the film directors Marcel Ophuls and Jean-Luc Godard met for an unusual, surprisngly intimate and sometimes contentious dialogue with each other in front of a live audience. Luckily for us, it was filmed.

An interview with Jean-Luc Godard by Dominique Maillet and Pierre-Henri Gibert, filmed on August 10, 2010 at the Hôtel de Vendôme in Paris.

Actresses' hairstyle in movies always carries a strong aesthetic statement associated with erotic, social, and historical meanings. In a bold and unexpected way, the film revisits this ultimate symbol of femininity in international cinema.

Through the files of Cuban cinema news program Noticieros ICAIC Latinoamericanos, the documentary shows the most relevant events of the second half of the 20th century as seen by the documentary filmmakers of the island. During three decades and under the general direction of Santiago Álvarez, these moviemakers witnessed almost everything: from the shivers of the Cold War to Bola de Nieve's piano solos; from the discovery of the killing fields in Cambodia to the Carnation Revolution in Portugal. In 2009, the original negatives of Noticieros ICAIC Latinoamericanos were declared part of the "world memory" by UNESCO.

An in-depth analysis of the relationship between New Wave pioneers François Truffaut and Jean-Luc Godard, as seen through rare archival footage, interviews, and film excerpts — written and narrated by former Cahiers du Cinéma editor Antoine de Baecque.

An artist-criminal far from home asks his assistant to pirate a rare videotape before the German Post Office Authorities come to confiscate it.

Brief, fragmented memories of Rohmer spoken by Godard, while the screen shows various titles of articles Rohmer wrote for Cahiers du Cinema.

Fourty-six years since the release of Le mépris, Jean-Luc Godard watches the film again to comment on it and its tumultuous production. Featuring interviews with: Jacques Rozier, Alain Bergala, Michel Piccoli, Charles Bitsch.

A movie about the contempt of the man who recorded the contempt.

What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many movie makers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.

What is the state of cinema and what being a filmmaker means? What are the measures taken to protect authors' copyright? What is their legal status in different countries? (Sequel to “Filmmakers vs. Tycoons.”)

A dense work, citing everyone from Tarantino and Verhoeven to Artaud and Chaplin, made for Godard's exhibition at the Centre Pompidou, Voyage(s) en utopie.

Jean-Luc Godard, and Anne-Marie Miéville Four Short Films

Contemporary film critics regard the epic film I Am Cuba as a modern masterpiece. The 1964 Cuban/Soviet coproduction marked a watershed moment of cultural collaboration between two nations. Yet the film never found a mass audience, languishing for decades until its reintroduction as a "classic" in the 1990s. Vicente Ferraz explores the strange history of this cinematic tour de force, and the deeper meaning for those who participated in its creation.

An interview with Jean-Luc Godard around the time of his film Notre Musique.

This documentary reunites director Peter Lennon and cinematographer Raoul Coutard, who recount the making of their then controversial but now classic documentary on Ireland in the Sixties. Rocky Road to Dublin was screened for only a few weeks at a single Dublin theatre.

Divided into three “kingdoms” — Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise) — Notre Musique is an indictment of modern times.

On June 3, 1991, Marguerite Duras gave me her last published work, "The North China Lover", autographed for the first time. She wrote: "For my friend Dominique Auvray, in memory of a wonder of wonders: a still recent past, when we worked together in the cinema". This is a portrait of her as she was cheerful and serious, authentic and provocative, considerate and categorical, but first and foremost young and free.

An elderly couple and a younger man and woman follow up failed seduction attempts with conversation about love and the meaning of life.

A compilation of the most spectacular TV moments thanks to the presence and evocation of Jean-Luc Godard on the small screen. Godard's presence has never been, and never will be, anodyne or banal. The subversion of everyday television.

In 1998, Jean-Luc Godard made a short video entitled Adieu au TNS (Farewell to the TNS). Never released (or intended to be), the video is nearly impossible to see and has not been included in any Godard retrospectives to date.

Part 8 of Godard's 8 part examination of the history of the concept of cinema and how it relates to the 20th century.

Part 7 of Godard's 8 part examination of the history of the concept of cinema and how it relates to the 20th century.

Part 6 of Godard's 8 part examination of the history of the concept of cinema and how it relates to the 20th century

Part 5 of Godard's 8 part examination of the history of the concept of cinema and how it relates to the 20th century.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

Two housewives discuss philosophical themes (actually an updated dialogue between Plato and Socrates) while doing the house work. The husband of one of them rehearses his part in a theatrical play, reading a 20th century philosophical text about totalitarianism.

This documentary consists mainly of archive interviews of Jean Cocteau, and it features interesting contributions by Jean Marais and especially Jean-Luc Godard, who discusses Cocteau's foray into cinema. The film documents all the artistic media explored by a man who defined himself, first and foremost, as a poet.

A reworking of extracts from Andre Malraux, Claude Nuridsany and Marie Perennou, and GK Chesterton.

At a lakeside hotel, Michel Piccoli discusses the centennial of cinema with Jean-Luc Godard. Godard asks why should cinema's birthday be celebrated when the history of film is a forgotten subject. Through the remainder of his hotel stay, Piccoli tests Godard's hypothesis.

Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.

Documentary about Carl Theodor Dreyer and his film Gertrud.

A famous French filmmaker is hired by a major Hollywood producer to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.

Claude Ventura's documentary Chambre 12, Hotel de Suede, was made for the French television channel Arte in 1993. Ventura checks into room twelve in the hotel's final week of operation: it is demolished the day after he checks out. Room twelve was one of the principal locations for Jean-Luc Godard's New Wave masterpiece Breathless, and Ventura's documentary investigates the production of Godard's film.

A short two-minute rumination on the once volatile situation during the period of the Bosnian War presented in the form of a photo-montage with accompanying text.

An intimate window into one of the great movements in film history that brought about an evolution in the art of cinema. The documentary portrays the movement with insight on the lives and works of Jean-Luc Godard, François Truffaut and other principal players in the New Wave.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

An 8-part documentary chronicling the history of cinema, examining the history of the concept of cinema and how both relates to the 20th century.

A daring deconstruction of consumerist behavior featuring a robot and Miss Clio Darty, with a voiceover by Godard and Anne-Marie Miéville, this philosophical "report," like so many of Godard's commissions, was rejected by its funders.

Jean-Luc Godard interviewed by French Critic Serge Daney at the time when Godard was working on his project "Histoire(s) du cinéma".

This film is made up several sketches in which certain actors play several real or fictional roles to a background of rock music. The lead character, played by Godard himself, is an annoyingly perfectionist film-maker determined to wring every last drop of the finest performance possible from his stars.

A descendant of Shakespeare tries to restore his plays in a world rebuilding itself after the Chernobyl catastrophe obliterates most of human civilization.

An absurdly brutal and minimalist examination of the desperate search for financial backing by two small-time filmmakers, 'Rise and Fall' is knowingly self-referential, sad, and appropriately enough, a film shot on a miniscule budget in 16mm. Based on a novel by James Hadley Chase, with script by Jean-Luc Godard.

Jean-Pierre Gorin interacts with a club of model railroad train enthusiasts and his mentor, artist/writer Manny Farber.

Revolutionary French New Wave director Jean-Luc Godard conducts a twenty-five minute interview with influential and acclaimed American director Woody Allen on the cultural radiation, the ubiquity and significance of Television, and how Television compares with cinema as a medium and form of expression.

"[This film] embodies (...) one of his [Hahnemann's] most mature films. Rainy rides along Schönhauser Allee, which seems to be depopulated. Past the 'Viennese Café', the meeting place par excellence. From a moving train the view of idyllic landscapes, on the horizon a castle. The camera tilts, turns, until the world is upside down. Scenes of an action with the artist friend Heike Stephan: in the sanctuary Hahnemann, black painted with a white turban, and Stephan, stack cages with rabbits on top of each other. Then TV recordings of a discussion forum with Jean-Luc Godard and Rosa von Praunheim - scenes as from another planet. From the off again and again a poem Hahnemann, recited by Peter Mario Graus. The diction is initially calm, almost factual, increases, eventually overturns, but then falls back, resigned. " (Claus Löser in "Gegenbilder")

Jean-Luc Godard and Anne-Marie Miéville talk about their films, while doing everyday tasks around their house.

Jean-Luc Godard and Philippe Sollers meet in Paris to discuss Godard's film Je vous salue, Marie, and many other things.

After offering spectators a projection/comparison of extracts from 17 films (each time, the first 5 minutes of their second reel) entitled "Une histoire A/B du cinéma" (A/B history of cinema), Jean-Luc Godard becomes a film historian, reflecting live and in public on his future Histoire(s) du cinéma (History(s) of cinema), which will not be considered complete until 1998. Edited from Betacam cassette rushes recovered in 2023 and digitized by the Cinémathèque française.

Série noire is a French crime television series created by Pierre Grimblat in 1984. The series was adapted from crime books by the publishing imprint of the same name. 36 episodes were filmed between 1984 and 1989, and were aired until 1991 on TF1.

The protagonist is Carmen X, a sexy female member of a terrorist gang. She asks her uncle Jean, a washed-up film director if she can borrow his beachside house to make a film with some friends, but they are in fact planning to rob a bank. During the robbery she falls in love with a security guard. The film intercuts between Carmen's escape with the guard, her uncle's attempt to make a comeback film, and a string quartet attempting to perform Beethoven.

A 1983 film for Channel Four’s Visions, featuring interviews about the impact of Godard of British filmmakers and critics.

Notes on the inception and making of Hail Mary.

During the 1982 Cannes Film Festival, Wenders asks a number of global film directors to, one at a time, go into a hotel room, turn on the camera and answer a simple question: "What is the future of cinema?"

Godard constructs a lyrical study of the cinematic and creative process by deconstructing the story of his 1982 film Passion. “I didn’t want to write the script,” he states, “I wanted to see it.” Positioning himself in a video editing suite in front of a white film screen that evokes for him the “famous blank page of Mallarmé,” Godard uses video as a sketchbook with which to reconceive the film. The result is a philosophical, often humorous rumination on the desire and labor that inform the conceptual and image making process of the cinema.

Reel 11 of Gérard Courant's on-going Cinematon series.

The co-founder of the Gamma press agency, Raymond Depardon, created this documentary of press photographers in Paris and their subjects by following the photographers around for one month, in October, 1980. In-between long hours waiting for a celebrity to emerge from a restaurant or a hotel, boredom immediately switches to fast action as the cameras click and roll when the person appears. The reaction to the gaggle of photographers is as varied as the people they often literally chase all around town. While some of the celebrities, such as Jacques Chirac who was mayor of Paris at the time, are perceived as comical caricatures, others are shown simply going about ordinary pursuits - including Catherine Deneuve, Gene Kelly, and Jean-Luc Godard.

A televisual journey guided by Jean-Luc Godard inside his film Sauve qui peut (la vie), incorporating filmed conversations between him and Isabelle Huppert and the film critic Christian Defaye.

A series in which the auteur interrogates a boy and a girl from two families in an attempt to get back to the origins of language and movement.

The famous French film director Jean-Luc Godard is interviewed by British film theorist Peter Wollen and the editor of Framework Don Ranveaud. He talks of the developments in his work, the change in style epitomized by his most recent film, Sauve Qui Peut, his work with Francis Ford Coppola and the relations between his previous films and the new one. He also discusses his radical method of scriptwriting and the critical responses to his latest film.

Explores the complex relationship between the spirit, body, and mind. The film is a nightmare with closed eyes because it counts among the most terrible moments of my life, my second exile, which lasted a very long time. Inspired by an ancient Hindu legend.

In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

Lesson of October 13, 1978 (course #11). Films discussed: Dracula (Tod Browning, 1931), Germany Year Zero (Roberto Rossellini, 1948), The Birds (Alfred Hitchcock, 1963), Weekend (Jean-Luc Godard, 1967). In the vaults of Concordia University's Visual Collections Repository department slept some 30 ½-inch black-and-white video open reels. They contained Jean-Luc Godard's 14 lessons, spread out from April 14, 1978 to October 21, 1978. The sessions consisted of long and brilliant series of digressions (often uninterrupted), initiated by questions from the audience or from Serge Losique. There are dazzling reflections on editing, economics, actors and actresses, war, political commitment, the media, and we witness the setting in motion of a unique thought.

Lesson of October 7, 1978 (class #10). Films discussed : Battleship Potemkin (Sergei Eisenstein, 1925), The Golden Age (Luis Buñuel and Salvador Dali, 1930), Mr. Deed Goes to Town (Frank Capra, 1936), La chinoise (Jean-Luc Godard, 1967). In the vaults of Concordia University's Visual Collections Repository department slept some 30 ½-inch black-and-white video open reels. They contained Jean-Luc Godard's 14 lessons, spread out from April 14, 1978 to October 21, 1978. The sessions consisted of long and brilliant series of digressions (often uninterrupted), initiated by questions from the audience or from Serge Losique. There are dazzling reflections on editing, economics, actors and actresses, war, political commitment, the media, and we witness the setting in motion of a unique thought.

The production of a film requires recording equipment and financial resources if nothing else. Hellmuth Costard places these basic prerequisites at the centre of his film: using a Super 8 camera system he developed, he films himself as he tries to raise funding for his film project. This creates an unconventional experimental setup, which reveals how the economics, politics, technology and aesthetics of filmmaking relate to each other – with the ‘great’ Godard being called up as a kind of chief witness.

Lesson of April 14, 1978 (class #1) Films discussed: Fallen Angel (Otto Preminger, 1945), Breathless (Jean-Luc Godard, 1958). In the vaults of Concordia University's Visual Collections Repository department slept some 30 ½-inch black-and-white video open reels. They contained Jean-Luc Godard's 14 lessons, spread out from April 14, 1978 to October 21, 1978. The sessions consisted of long and brilliant series of digressions (often uninterrupted), initiated by questions from the audience or from Serge Losique. There are dazzling reflections on editing, economics, actors and actresses, war, political commitment, the media, and we witness the setting in motion of a unique thought.

"Here is a family of average French people in front of their television. Elsewhere, they are Palestinian fighters filmed before the massacres of Black September." (JLG, 1976). "We came here to study this: to learn, to learn lessons, if possible to record these lessons, to then broadcast them here, or elsewhere in the world. Almost a year ago, two of us came to investigate the Democratic Front. Then another went to Fath. We read the texts and programs. As French Maoists, we decided to make the film with Fath whose title is Until Victory. We let the Palestinians , during the film, themselves say the word: "Revolution". But the true title of the film is Methods of Thought and Work of the Palestinian Liberation Movement." (JLG, Manifesto, July 1970)

The title and subtitle of this French miniseries are “Six Times Two; Over and under the media”. The “six” refers to the fact that there are six episodes; the “two” has a double meaning.

During the making of a video film about a communist printing press, a union member and a leftist activist discuss how to present their information, especially how to caption two specific images: one of a protest in Portugal, the other of a strike in France. One of them decides to write to his son, a manual worker living outside of Paris with his girlfriend, telling the young man about his troubles.

The title and subtitle of this French miniseries are “Six Times Two; Over and under the media”. The “six” refers to the fact that there are six episodes; the “two” has a double meaning.

Jean-Luc Godard mixes video and film in his Grenoble studio, discussing how he secured funding for the film. The action unfolds on two monitors, as a young working-class couple lives in a claustrophobic, high-rise apartment complex and marital discord is set off by the wife’s infidelity.

Apostrophes was a live, weekly, literary, prime-time, talk show on French television created and hosted by Bernard Pivot. It ran for fifteen years (724 episodes) from January 10, 1975, to June 22, 1990, and was one of the most watched shows on French television (around 6 million regular viewers). It was broadcast on Friday nights on the channel France 2 (which was called "Antenne 2" from 1975 to 1992). The hourlong show was devoted to books, authors and literature. The format varied between one-on-one interviews with a single author and open discussions between four or five authors.

The film's subject is a photograph of Jane Fonda visiting Hanoi during the Vietnam War. It asks what the position of the intellectual should be in the class struggle and points out the irony of Jane Fonda's participation in the photo shoot, which was staged.

Lighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures.

Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.

Filmed clandestinely in Czechoslovakia on 16mm. It's one of the films Godard made with the Groupe Dziga Vertov - a Marxist film about the political situation after the '68 revolution.

Spring 1970: Godard and Gorin, on the road, visiting colleges, speaking with Andrew Sarris, and explaining, through illustrated notebooks, their newest Dziga Vertov Group project, a film on Palestine.

Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions.

A young, unscrupulous director hires an actress and uses the story she tells him of her life to write his screenplay, but fires her and entrusts the leading role to someone else.

Documentary about Jean-Luc Godard filming Sympathy for the Devil with The Rolling Stones.

Jean-Luc Godard visits NYU in order to discuss his latest feature "La chinoise" with graduate students on filmmaking and politics.

In seven different parts, Godard, Ivens, Klein, Lelouch, Marker, Resnais, and Varda show their sympathy for the North-Vietnamese army during the Vietnam War.

As the city of Paris and the French people grow in consumer culture, a housewife living in a high-rise apartment with her husband and two children takes to prostitution to help pay the bills.

An hour-long discussion between Fritz Lang and Jean-Luc Godard in which they discuss a variety of art forms, the role of the cinema, their collaboration together, and much more. (Filmed in 1964 but released for TV in 1967.)

Paula Nelson goes to Atlantic City to meet her lover, Richard Politzer, but finds him dead and decides to investigate his death. In her hotel room, she meets Typhus, whom she ends up knocking out. His corpse is later found in the apartment of David Goodis, a writer. Paula is arrested and interrogated. From then on, she encounters many gangsters.

Collective contribution to a history of cinema, this issue of the “Civilisations” collection also takes part in the genesis of Deux ou trois choses que je sais d'elle and La Chinoise

An American scientist is sent by the CIA to East Germany to retrieve a secret microfilm from a Soviet scientist interested in defecting to the West but the Stasi secret police's surveillance complicates matters.

A documentary, originally produced in 1966 for the French TV series "Pour le plaisir," about Robert Bresson's film "Au Hasard Balthazar," featuring interviews and discussions with Bresson, Jean-Luc Godard, Louis Malle, Marguerite Duras and others.

A superifical woman finds conflict choosing between her abusive husband and her vain lover.

Paparazzi explores the relationship between Brigitte Bardot and groups of invasive photographers attempting to photograph her while she works on the set of Jean-Luc Godard's film Le Mépris (Contempt). Through video footage of Bardot, interviews with the paparazzi, and still photos of Bardot from magazine covers and elsewhere, director Rozier investigates some of the ramifications of international movie stardom, specifically the loss of privacy to the paparazzi. The film explains the shooting of the film on the island of Capri, and the photographers' valiant, even foolishly dangerous, attempts to get a photograph of Bardot.

Five swindle stories, taking place in five international cities: Tokyo, Japan ("Fumiko's Five Benefactors" by Hiromichi Horikawa); Amsterdam, The Netherlands ("A River of Diamonds" by Roman Polanski); Naples, Italy ("The Road Map" by Ugo Gregoretti); Paris, France ("The Man Who Sold the Eiffel Tower" by Claude Chabrol); and Marrakesh, Morocco ("The Confidence Man" by Jean-Luc Godard). Godard's segment was not included in the original French cinema release, and Polanski's segment was not included on the 2016 home disc release.

Cinephile slackers Franz and Arthur spend their days mimicking the antiheroes of Hollywood noirs and Westerns while pursuing the lovely Odile. The misfit trio upends convention at every turn, be it through choreographed dances in cafés or frolicsome romps through the Louvre. Eventually, their romantic view of outlaws pushes them to plan their own heist, but their inexperience may send them out in a blaze of glory -- which could be just what they want.

Made for Cinéastes de notre temps series. In 1964, several French New Wave auteurs discuss the success and crisis of the wave. Featuring Claude Chabrol, François Truffaut, Jacques Rivette, Jean-Luc Godard, Jacques Rozier, Jacques Demy, Agnès Varda, Jean Rouch, and many others.

A documentary short following director Jean-Luc Godard on the set of Contempt.

A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of "The Odyssey," but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.

Sheherazade is promised to a powerful Sultan as a gift in exchange for free passage to the Holy Land. When the Sultan's underling saves her from certain death, she falls madly in love with her hero.

Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.

During the Algerian war for independence from France, a young Frenchman living in Geneva who belongs to a right-wing terrorist group and a young woman who belongs to a left-wing terrorist group meet and fall in love. Complications ensue when the man is suspected by the members of his terrorist group of being a double agent.

Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.

A love triangle between 23-year-old Emma (Anna Karina), her older boyfriend (Georges Descrières) and the younger man (Jacques Perrin) she meets while on vacation by herself.

An American in Paris lives by sponging off his working friends, and throws a party using borrowed money when his rich American aunt dies, believing firmly in his horoscope.

Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.

A young woman joins a theatrical troupe where she slowly believes that the director is involved with a secret group and that he is in grave danger.

Two young people, Walter and Charlotte, are walking through a small village in Switzerland a snowy winter day. Walter introduces Charlotte to Clara, hoping to make Charlotte jealous. After saying good-bye to Clara, Walter accompanies Charlotte into her house, although she doesn't want him to. Charlotte is hungry and cooks a steak. She asks Walter if he wants a piece of it. He says no, but she gives him a small piece anyway. He wants a kiss, and she says no. She starts to compare herself with Clara, who Walter agrees is more beautiful. In spite of this, Walter says he likes Charlotte much more, but she thinks he is lying. She notices that he is cold and shivering. She hugs him, he kisses her, and she starts kissing him. After leaving the house he accompanies her to the train.

A young woman tries to go to Paris, but her garden and the whole village is flooded with water.

A subtitle warns, "beware of dark sunglasses." Anna and her lover, whose looks in bowler and bow tie are reminiscent of a young Buster Keaton, kiss chastely on a bridge overlooking the Seine. He dons sunglasses and waves as she runs down a stairway to the river's edge, then watches in horror as she's knocked flat and loaded into the back of a hearse. In vain, he gives chase. Disconsolate, he buys a large funeral wreath and a handkerchief from sympathetic vendors. He removes the glasses to wipe his eyes and realizes they are the cause of all his woe. He replays the farewell without the glasses.

A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.

For young Parisian boy Antoine Doinel, life is one difficult situation after another. Surrounded by inconsiderate adults, including his neglectful parents, Antoine spends his days with his best friend, Rene, trying to plan for a better life. When one of their schemes goes awry, Antoine ends up in trouble with the law, leading to even more conflicts with unsympathetic authority figures.

This short features a man who is visited by his ex-lover. The moment she arrives, the man starts his constant barrage of speech; the woman doesn't say much. She just mocks the man and pretends she isn't listening. She pulls faces at him and larks about; while the man is trying his best to get her back in his life, then in the next sentence he says he hates her.

Godard returned to Paris briefly before getting a job as a construction worker on a dam project in Switzerland. With the money from the job, he made a short film about the building of the dam called Opération béton (Operation Concrete).

Claire is a chic young Parisian woman married to a somewhat older husband, Jean As the story opens, she leaves her husband playing baroque music at the piano, telling him she is off to see her sister, Solange. In reality she meets her lover, Claude at his apartment; After some idle chatter and love-making he tells her a story of the shriveled heads that the Jivaro Indians used to give their lovers as tokens of affection but, as she shivers in disgust, he gives her a mink instead. How will they hide it from her husband?

Some time after marrying a sensual girl, Pozdnychev realizes the only link to his spouse is that of physical love. When a violinist with whom his wife plays regularly the “Sonata to Kreutzer” appears, the young woman blooms in a new passion. From then on, her husband is eaten away by jealousy.

Agnès, a bourgeois young woman from Geneva, writes a letter to a friend, telling how she ended up cheating on her husband. Fascinated by the attitudes and gestures adopted by a prostitute to attract clients, Agnès decides to imitate her and seduces the first man she sees, sitting on a garden bench.

Evelyne, a judge's young wife, falls in love with Rémy while vacationing in Italy. Upon returning home, she must decide between telling her husband and continuing to see Rémy.

Though Godard got a little money from his family, he admitted that the money that went into Rivette’s film came from stealing and selling books from his grandfather Monod’s “Valérianum”. The film featured four actors: two women and two men, one of them Godard. According to Rivette, “It ran 40 minutes and nothing happens. It’s just four people sitting around a table, looking at each other. After ten minutes, people started to leave, and at the end, the only ones who stayed were Jean-Luc and a girl.” (Richard Brody)

The Bambi, often called the Bambi Award and stylised as BAMBI, is a German award presented annually by Hubert Burda Media to recognize excellence in international media and television to personalities in the media, arts, culture, sports, and other fields "with vision and creativity who affected and inspired the German public that year", both domestic and foreign. First held in 1948, it is the oldest media award in Germany. The trophy is named after Felix Salten's book Bambi, A Life in the Woods and its statuettes are in the shape of the novel's titular fawn character. They were originally made of porcelain until 1958, when the organizers switched to using gold, with the casting done by the art casting workshop of Ernst Strassacker in Süßen.

An experimental tribute to Jean-Luc Godard, his documentary works and his insights in our modern world.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

Football, betting, agriculture, technology, conspiracy theories and the second round of one of the most turbulent elections in the history of Brazilian politics. The daily political debate in a small newsstand in the interior of Rio Grande do Sul and the sound, visual and spatial noises of the contemporary agora.

Lila Biro is a remarkable character who witnessed Rossellini in India, played a key role in the cutting of key titles of the French New Wave, and was a close collaborator of the Hungarian émigré painter, Atila Biro. For me, however, she’s also the star witness in a crime against film grammar: the jump cut. The editing style of Jean-Luc Godard’s Breathless is now legendary, but I’ve always wondered what it must have been like in the cutting room when that revolutionary editorial decision was made. Thanks to Lila, that moment is vividly brought to life.