一个戈达尔式的爱情短片
Jean-Luc Godard and Woody Allen. Just by those two names you will know if this short interview-film, which has been seen by likely less than a hundred people since it was filmed almost twenty years ago, will be worth to see (and 80's era Godard and Woody no less). Basically, you get Godard's madman sensibilities as a filmmaker, playing around with the structure of a director interview, and you get Woody Allen's insights. Ironically, I think this was made for video, or at least shot on it (maybe ...
Originally made for the French TV show «Série Noire», Grandeur et décadence d'un petit commerce de cinéma can be seen as Jean-Luc Godard's determined bid to demythologise the movie-making process to a higher plain. Ostensibly seeking to greenlight an adaptation of a James Hadley Chase novel, Jean-Pierre Léaud as a director and Jean Almereyda as a producer mull over the meaning and purpose of cinema. While eyeing beauteous new actresses with a dash of lasciviousness, the pair are also keeping tra...
The majority of this video consists of Godard and companion, Mieville sitting on the sofa and discussing the aesthetic emptiness of television, and why their current films have been less sucessful on some levels. It is tedious and extremely pretentious. It is very withdrawn, and I'm sure hardcore Godard loyalists with attribute this to the commentary he is creating, but the video seems to wallow in its own self importance - making it almost unbearable
但这部电影对戈达尔来说最大的意义仍不过是为他提供了继续实验的场所。譬如片头演员表中“演员”（acteur）和“明星”（star）的对立。又譬如他在复出主流影坛后对静态画面的偏爱，那些太美丽的构图，诸如女人的身体，玻璃灯罩中的烛火，实在不是一个泛泛之辈能够拍出来的。那个从茶壶中缓缓倾倒进杯子里的血红色液体的镜头更是堪称惊心动魄。这些都需要高度的对美的自觉。但这些美丽画面不过是戈达尔的天赋而已，戈达尔在意的仍然是一些政治地生活、政治地拍片的态度。所以这部电影真正的线索应该是无情节日常生活中的意义的探索。至于片...
戈达尔对圣经故事的重新演绎：玛丽怀胎被搬到了1980年代。玛丽是个学生，爱打篮球，闲时帮父亲照看加油站；男朋友约瑟夫是出租车司机。天使乘坐喷气式飞机驾到，告诉她将怀有耶稣。她的怀孕对他俩都带来很大的困惑。
I found a copy of this film for three bucks, I figured that was a great deal, even if it is in a different language (lucky for me there were subtitles)! When this film came out in the mid eighties it was all about controversy. Many people called the film Blasphemy, so what if it is, you don't hav...
本片主要线索依据于梅里美的《卡门》：一个抢劫团伙中的女青年卡门，与警察约瑟夫由搏斗到相恋，约瑟夫遂追随卡门及其团伙。卡门对约瑟夫慢慢冷淡，不堪忍受的约瑟夫在该团伙的一次行动中杀死了卡门。但同时，影片还有两条线索，卡门的叔叔，著名导演让（戈达尔亲自饰演）寻找拍片机会，却被卷入卡门团伙的行动；小提琴手克莱尔与朋友们演奏贝多芬的弦乐四重奏……
透过本片，观众能清楚地感受到这位七十年代的新马克思主义者深深的英雄末路之情；用著名影评家宝琳·凯尔的话来说，导演表现出强烈的厌倦感，仿佛他宁愿听贝多芬四重奏，...
PASSION/ / Jean-Luc Godard
兰电影导演杰西在法国为电视台拍摄影片时陷入困境。他不仅严重超支，丧失灵感；而且这部叫做“情欲”的片子变得死气沉沉苍白无力。电影摄制组下榻的旅馆为汉娜所拥有。她和米歇尔同住。米歇尔自己开工厂，最近解雇了清洁工伊莎贝拉。汉娜和伊莎贝拉都为导演杰西所着迷，旅店的女仆都辞去工作，争做临时演员。人们问导演影片的故事何在：女人们宽衣解带，临时演员在场外互相爱抚。导演感到纳闷：为什么一定要有故事呢？
This short film is Godard's message to the people of Lausanne, specifically Freddy Buache, giving his reasons why he will not make a film about their town's 500th anniversary.
First Godard expresses his frustration with the town. When attempting to film on the side of a highway, they were forced to stop filming by the local authorities. The officer said they could only stop for an emergency. Godard replied that it was an emergency because the light was perfect. The officer wasn't understanding,...
这部影片围绕三个分别处在各自生命转折点的人物。群星荟萃的演员阵容，包括伊莎贝拉·于佩尔扮演的农村姑娘来到城市沦落为妓女；纳塔莉·贝依扮演一个决心放弃掉城市工作去乡下享受田园生活的职业妇女；而雅克·迪特隆则扮演一位电视节目的导演，刚和老婆离婚，处于事业低潮。
影片惊人地运用了慢镜头摄影，看上去相当优美，也正是本片使得离开商业电影拍摄有好几年的戈达尔重回影圈，受到相当热烈的反映，再次巩固了导演在拍摄创新电影的最前线地位。
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. Each of these episodes is a collaboration between two people: Jean-Luc Godard and his long-time partner Anne-Marie Miéville, but the "two" also refers to the fact that each episode has a two-part structure. The individual episodes run 100 minutes each, split almost precisely into two 50-minute sections.
Each epi...
With COMMENT ÃA VA? (How Is It Going?), Jean-Luc Godard and Anne-Marie Miéville once again explore one of their favorite topics: the infinite profusion of language and images that surround society. The fractured, abstract film follows the workers of a communist journal who decide to publicize their paper by producing an informational video and film. But when they begin to question what form the endeavor should take, the confusion introduced becomes the focal point of their presentation. This i...
The first time I ever saw "Numero Deux" was the last time a movie almost had me in tears, - 'cause it's desperate. Done on video "Numero Deux" was Godard's attempt to overcome the - as he had put it himself - "End of cinema", Godard himself having blown it to pieces in "Pierrot le Fou" and "Weekend". "Numero Deux" was to be a new beginning, a new "Breathless" (which was number one), - but absolutely NOTHING seems to be working. "Numero Deux" is a shipwreck of a movie. The over-all "theme" or pre...
Jean-Luc Godard dissects the structure of society, movies, love and revolution. He asks compelling questions: Can love survive a relationship? Can ideology survive revolution? He also looks at the French student riots of the 1960s with a critical eye, and ends up satirizing contemporary views of history. A battery of thoughts complete with criticism of modern society and movies. Written by Mikael Halila {mikael.halila@pp.inet.fi}
"Tout va bien" is set in 1972, i.e. four years after the "events...
INTRODUCTION: The version of this film that I saw was seemingly sourced from incredibly poor-quality video cassette with burnt-in subtitles. I'm not sure if this was the intention of Godard and Gorin, but regardless, I feel that certain elements of the film may have been lost as a result of the poor image quality. The entire film seems to be submerged in a dull, red tint (almost rust-like in appearance) with many of the scenes under-exposed to the point of almost total darkness. Likewise, the fi...
