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The Best Jean-Luc Godard Movies. Go to The Best Shows

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poster

85

7.6

/94201/

74

/1844/

75

/1969/

3.9

/277004/

95

/82/

90

/2243/

96

/24/

4.0

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.

poster

85

7.8

/30975/

78

/838/

77

/751/

4.2

/224060/

93

/54/

89

/321/

87

/22/

4.0

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.

poster

85

7.8

/14361/

77

/446/

76

/405/

4.2

/46781/

99

/144/

89

/56/

94

/23/

3.5

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

poster

77

7.4

/38700/

72

/724/

70

/930/

3.8

/105205/

92

/65/

85

/718/

3.0

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.

poster

72

6.9

/166/

40

/4/

64

/4/

3.6

/1055/

100

/5/

3.5

"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?

poster

71

6.5

/9264/

62

/194/

62

/209/

3.5

/26975/

94

/34/

72

/179/

3.0

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.

poster

68

6.2

/3220/

60

/80/

63

/81/

3.4

/11267/

90

/89/

51

/9/

76

/22/

3.0

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.

poster

67

5.8

/6632/

58

/150/

59

/189/

3.4

/17149/

88

/78/

47

/61/

75

/28/

3.5

The idea is simple / A married woman and a single man meet / They love, they argue, fists fly / A dog strays between town and country / The seasons pass / The man and woman meet again / The dog finds itself between them / The other is in one, / the one is in the other / and they are three / The former husband shatters everything / A second film begins: / the same as the first, / and yet not / From the human race we pass to metaphor / This ends in barking / and a baby's cries / In the meantime, we will have seen people talking of the demise of the dollar, of truth in mathematics and of the death of a robin." - JLG

poster

66

7.4

/179/

64

/5/

60

/5/

3.6

/432/

61

/205/

77

/4166/

57

/41/

3.0

age 16+

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.)

poster

70

60

6.8

/3278/

65

/35/

67

/38/

3.9

/5114/

68

/57/

72

/92/

77

/19/

A three-chapter (Hell, Purgatory and Paradise) meditation on the city of Sarajevo in the wake of the Bosnian war, on Palestine and Israel, and on war itself.

poster

70

55

6.7

/2925/

64

/44/

65

/72/

3.6

/6555/

86

/14/

71

/23/

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.

poster

71

53

6.6

/1063/

57

/17/

62

/49/

3.4

/1618/

91

/22/

87

/108/

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.

poster

77

50

7.0

/579/

78

/15/

71

/24/

3.8

/1777/

100

/8/

72

/4/

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.

poster

73

47

7.3

/1141/

69

/60/

68

/61/

4.1

/13264/

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.

poster

63

47

6.5

/1807/

56

/34/

64

/58/

3.4

/4910/

65

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

poster

59

46

5.5

/1713/

53

/23/

64

/33/

3.5

/4341/

67

/15/

57

/38/

50

/11/

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

poster

65

43

6.7

/1566/

62

/41/

65

/70/

3.4

/8261/

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.

poster

63

41

6.6

/1902/

65

/43/

65

/54/

3.5

/7387/

53

/16/

During the 1982 Cannes Film Festival, Wim Wenders asked 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?"

poster

74

37

7.3

/963/

74

/25/

70

/22/

3.9

/3524/

64

/11/

88

/5/

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

poster

67

37

7.1

/845/

57

/4/

64

/41/

3.9

/1789/

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.

poster

63

37

6.8

/897/

68

/18/

63

/19/

3.4

/1069/

64

/28/

51

/27/

59

/10/

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.

poster

59

37

6.1

/1256/

60

/22/

60

/26/

3.6

/3941/

46

/373/

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.

poster

72

34

7.1

/996/

68

/17/

65

/25/

4.0

/5701/

78

/9/

Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.

poster

73

33

7.2

/446/

77

/12/

72

/15/

3.5

/394/

100

/5/

62

/5/

64

/6/

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.

poster

53

30

6.0

/1438/

54

/29/

55

/33/

3.2

/4039/

38

/5/

On a snowy day in a Swiss village, Walter introduces Charlotte to Clara, hoping to spark jealousy. Later, at Charlotte’s home, tensions rise as they discuss beauty, attraction, and honesty. Despite initial resistance, emotions take over, leading to an unexpected moment of intimacy before their farewell.

poster

60

29

7.0

/352/

46

/12/

55

/11/

3.5

/1573/

60

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.

poster

61

27

6.2

/393/

54

/17/

60

/17/

3.5

/3417/

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.

poster

61

27

6.1

/583/

60

/19/

61

/21/

3.2

/1902/

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.

poster

75

25

7.2

/86/

70

/1/

90

/1/

3.9

/1151/

69

In French, "scénario" is cinema's name for how it tells stories. This is the title Jean-Luc Godard chose for his final film, which was literally completed the day before his self-death. The two segments of this film open with a series of identical sequences. The second segment then diverges and ends on a self-portrait of Jean-Luc Godard -his last images- sitting on his bed, bare-chested, he hides none of the wear on his body in the manner of Pigalle's sculpted portrait of Voltaire. "Scénarios" ends as it began, with a repetition, the figure of eternal return, the moment where time, which has been the great -if not unique- question of cinema, will have ceased to flow.

poster

65

25

6.5

/493/

60

/16/

67

/15/

3.5

/1664/

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.

poster

48

24

6.0

/832/

52

/12/

60

/22/

3.4

/1632/

33

/6/

19

/7/

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.

poster

61

23

5.8

/652/

53

/12/

66

/15/

3.4

/1328/

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.

poster

63

21

5.7

/566/

51

/7/

70

/12/

3.4

/1608/

73

/5/

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.

poster

61

20

6.0

/414/

80

/3/

60

/14/

3.4

/786/

38

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.

poster

66

19

6.8

/35/

60

/1/

60

/1/

3.8

/547/

69

A final meeting with Jean-Luc Godard. This documentary shows the filmmaker preparing Scénario, his unfinished testamentary film, before closing with a moving scene: the final appearance of a genius driven to the very end by a love of cinema. Consists of Exposé du film annonce du film “Scénario” and Scenarios combined together for TV.

poster

63

14

6.9

/214/

54

/7/

56

/9/

3.8

/825/

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.

poster

52

14

5.2

/344/

46

/11/

52

/13/

2.9

/944/

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).

poster

68

13

7.3

/340/

66

/9/

67

/3/

3.3

/1039/

Explores Jerry Lewis' unreleased 1972 film "The Day the Clown Cried," its mysterious disappearance, and the search for footage. Includes interviews with Lewis' associates and previously unseen production content.

poster

66

13

6.6

/313/

63

/3/

59

/9/

3.6

/778/

73

/5/

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.

poster

60

11

6.8

/274/

63

/13/

63

/7/

3.6

/747/

38

/3/

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

poster

60

10

5.9

/245/

52

/4/

61

/7/

3.3

/662/

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

poster

57

10

6.0

/159/

56

/3/

45

/10/

3.4

/637/

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

poster

74

8

7.2

/71/

70

/1/

80

/1/

3.7

/658/

In October 2021, Jean-Luc Godard presented his idea for Scénario, a 6 chapter feature film combining still and moving images, halfway between reading and seeing.

poster

51

8

6.1

/56/

25

/4/

53

/3/

3.4

/679/

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

poster

?

6.7

/96/

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

?

30

/1/

Godard sets filmmaking in the context of the history of arts, works with references to popular works of fine arts. At the same time, it shows how inseparable the work is from the author and how important role inner authenticity plays in terms of authorship. Flipping through photos in Godard’s cell phone, the history of arts spontaneously alternates with his own memories, selfies and the perspective of a dog that gives the human position a different angle

poster

?

6.3

/8/

Godard to come to the University California, San Diego to give a lecture. He stayed at our house at the beach. Some filmmakers and creatives came to visit him. They all stayed at our house on the beach. Guests were Heiner Müller, Wim Wenders, Martin Milner, Jim Mc Bride, Tom Luddy and other.

poster

?

7.1

/8/

45

/2/

N/A

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