Jean-Luc Godard

Henri Langlois was, in many respects, the ultimate film fan. In 1936, at the age of 22, Langlois became (along with Jean Mitry and Georges Franju) one of the founders of the Cinémathèque Française, a theater and museum devoted to preserving the history of the motion picture. Initially a tiny operation financed by private funds, the Cinémathèque, with time, grew into Europe's most important film archive, collecting and preserving prints of rare films from all over the world and protecting many rare gems of the French cinema from destruction during the Nazi occupation of World War II. Langlois' enthusiasm for sharing the treasures of his collection with others helped spawn a film-crazy generation who created the French New Wave of the '50s, and in time, the French government acknowledged the importance of the Cinémathèque's work by financing their endeavors. In 1968, the French minister of culture, André Malraux, responded to Langlois' difficult personality and sloppy bookkeeping by pulling the government's financing of his projects, which led to an international outcry leading to the shutdown of the Cannes Film Festival by activists and film buffs. The Cinémathèque's funding and Langlois' leadership were later restored, and in 1973, his work in film preservation was honored with a special Academy Award. Henri Langlois: The Phantom of the Cinémathèque is a documentary which chronicles the life, times, and passions of the legendary archivist and includes interviews with his friends, contemporaries, and colleagues -- including Claude Berri, Claude Chabrol, Jack Valenti, and Daniel Cohn-Bendit. ~ Mark Deming, All Movie Guide

Eight master directors of world cinema combine forces for this omnibus film that focuses cumulatively on the subject of time. Bookended by cello interludes, Ten Minutes Older: The Cello presents just one parameter to each of its filmmakers: no final entry can be more or less than ten minutes long. The resulting films run the gamut of styles and moods, beginning with Bernardo Bertolucci's Histoire d'Eaux, which presents an Indian fable about a mentor's impatience. In Mike Figgis' entry About Time 2, the director continues with the experimental structure he pioneered in Timecode; similarly, Jean-Luc Godard uses his time allotment to present a fractured series of clips on youth, death, and love. Another non-narrative entry, Volker Schlöndorff's The Enlightenment presents a series of images on racism. Claire Denis' effort Vers Nancy chronicles a philosophical discussion on time between a teacher and student on a train ride; in Jirí Menzel's Ten Minutes After, the effects of time on aging Czech actor Rudolf Hrusinsky are documented. In perhaps the film's most narrative-oriented segment, director Michael Radford offers up a sci-fi vision of an astronaut returning to earth to find that his son has aged faster than he has. Ten Minutes Older: The Cello is a companion piece to 2002's Ten Minutes Older: The Trumpet, which aired in the U.S. on the Showtime cable network. ~ Michael Hastings, All Movie Guide

Cinematic iconoclast Jean-Luc Godard returns to the front ranks of contemporary filmmaking while embracing the digital video revolution (no great surprise, given his eager and early embrace of video technology in the 1970s) with this drama. In the first part of the film, shot on 35 mm black-and-white film, a filmmaker named Edgar (Bruno Putzulu) is in the midst of a casting session with his producers, looking for the leading lady for his next film. More interested in discussing philosophy than in the nuts and bolts of the character, Edgar speaks with a number of actresses before he encounters Elle (Cecile Camp); he's fascinated by her, and is certain he's met her somewhere before, but can't tell where or when. Eventually, Edgar decides Elle is the right person for the role, but he then discovers she has died. In the second part of the film, produced using color digital video equipment, Edgar flashes back to the moment when he first met Elle -- he's meeting with an elderly couple who survived the Holocaust and have sold their life story to a Hollywood movie producer. While meeting the couple as a guest of an old friend and historian (Jean Lacouture) interested in their story, he's introduced to the couple's granddaughter, a law student who has offered to take a look at their contract -- Elle. ~ Mark Deming, All Movie Guide

Samira Gloor-Fadel debuts with this strikingly unorthodox documentary featuring two of cinema's greatest intellectuals (Wim Wenders and Jean Luc Godard) bouncing a flurry of illuminating thoughts and half-formed ideas about time, space, and the nature of cinema. The conversation is never depicted, and indeed Godard is never actually seen. Instead the visuals are largely comprised of Wenders' editing, directing, and lecture. A second element in this untraditional documentary is about the city of Berlin. We hear Wenders muse about his favorite German city accompanied by shots of its architecture. Meanwhile, a third portion shows a youth visiting the sites used in Wings of Desire (1986) while grieving the untimely death of Rainer Werner Fassbinder. Berlin-Cinema (Titre Provisoire) was screened at the 1999 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

Especially made for fans of arthouse fare, this intellectually challenging work from writer/director Anne-Marie Mieville offers a heady mixture of ancient and modern philosophical conversation and humor. The film is comprised of three segments. The first is an updated rendition of Plato's dialogues in which Socrates and Callicles discuss the qualities that make one man superior to another; they also explore which endeavors have the greatest value in the world. The joke of the segment is that the modern Socrates is portrayed as a suburban housewife who discusses these matters while redecorating her home. The second segment is set upon a stage. Mieville's husband, distinguished filmmaker Jean-Luc Godard steps out and recites passages from 20th-century philosopher Hannah Arendt's "The Nature of Totalitarianism." The film's final section was written entirely by Mieville and offers wry musings on the effects of romance upon creativity as seen from the view of a couple who have spent most of their lives together. ~ Sandra Brennan, All Movie Guide

For Ever Mozart is an episodic film that follows a theater troupe from France attempting to put on a play in Sarajevo. Along their journey they are captured and held in a POW camp, and they call for help from their friends and relations in France. Director Jean-Luc Godard presents stories about this troop to ask how one can make art while slaughters like the one in Bosnia are taking place, and he throws in a strong critique of the European Union. For Ever Mozart is one of Godard's most disjointed and difficult films. Its stories sometimes seem to form a whole and at other times the links among them are unclear. One gets the impression that in each episode Godard attempts to start a film only to come to the conclusion that it is impossible to continue. It features some of the most beautiful shots of tanks in the cinema. ~ Louis Schwartz, All Movie Guide

Jean-Luc Godard's self-portrait film is a humorous and melancholy reflection on the state of cinema and the world. It is not an autobiography -Godard does not recount the story of his life, but he uses the film to present himself the way a painter would in a self-portrait. Instead of presenting a retrospective of his career, Godard refers to his earlier films in the images of JLG/JLG. As in many of Godard's later films, the dialogue and voice-over are unattributed quotations from works of literature, science, and philosophy. Godard cuts and pastes these quotations into passages on art, film, and politics. JLG/JLG was shot in and around Godard's house in Lausanne along the border of France and Switzerland. The region's wintry lake and forests, so familiar to fans of Godard's work in the 90s, provide a beautiful setting for the film's episodes. ~ Louis Schwartz, All Movie Guide

This documentary from esteemed filmmaker Jean-Luc Godard is a collage of film clips from some of Russia's greatest directors ranging from Eisenstein to Tarkovsky. Also included are actors, including Godard, who plays Dostoyevsky's Idiot, reciting scenes from Chekhov, and from Russian literature. ~ Sandra Brennan, All Movie Guide

Nouvelle Vague marks the beginning of a period in Jean-Luc Godard's career in which he made films that looked back on his previous work. In these retrospective films, Godard asked himself whether it is possible to continue as a film director under the conditions imposed by international commercial cinema. Appropriately enough, Nouvelle Vague concerns the return of a man (Roger Lennox / Richard Lennox, played by Alain Delon, superstar of 60s and 70s international cinema) who may or may not have returned from the dead. The film's narrative is extremely disjointed and might be better understood as an essay on the idea of returning. The theme of a return from the dead gives Godard the opportunity to come back to the religious imagery and theological considerations that interested him from 1983's Hail Mary. The film's dialogue is a patchwork of unattributed quotations from works of literature, philosophy, and economics, a technique that Godard adopted in most of his films after this one. Even if the film's "story" is not easy to understand, the beauty of its images and sounds, along with the sublime rhythms of the editing, may be enough to ravish some audiences. ~ Louis Schwartz, All Movie Guide

Two highly talented and innovative directors -- filmdom's Jean-Luc Godard and the theatre world's Peter Sellars -- join forces in this unusual (to say the least) slant on Shakespeare's King Lear. This offbeat adaptation gives the viewer a postmodern taste of Shakespeare through the eyes of a deliberately obscure auteur. The film is set some time after Chernobyl has wiped everything out, and the world is trying to set itself right again. William Shakespeare Jr. the Fifth (Peter Sellars) is faced with the task of restoring his famed ancestor's lost works. He visits a resort in Switzerland and becomes fascinated with a visiting gangster, Don Learo (Burgess Meredith) and his lovely daughter, Cordelia (Molly Ringwald), who converse in actual Shakespearean lines. That's as close to the bard as this King Lear gets. It also includes appearances by Woody Allen, Norman Mailer, and director Godard himself as "The Professor," a deranged individual who seems fascinated with Xeroxing his own hand. ~ John Voorhees, All Movie Guide

Jean-Luc Godard wrote, directed, and starred in this offbeat comedy. He appears as a bumbling cinematographer who drops film cannisters as he rushes to a screening, and he and others board a plane helmed by a pilot who is reading a self-help book about suicide. A philosophical narration accompanies scenes of recurring imagery. A man dancing with a woman, the vapor trail of a jet against the sky, and a dead man with a huge knife in his belly are used along with a glass door being slammed in a little girl's face. ~ Dan Pavlides, All Movie Guide

Je vous salue Marie is Jean-Luc Godard's first sustained examination of modern spiritual life. This complex episodic film parallels the story of a contemporary Joseph (Theirry Rode) and Mary (Myriem Roussel) with that of a science class studying the origins of life on earth. Joseph is a cab driver and Mary plays on a woman's basketball team. A thuggish angel (Philippe Lacoste) tells Mary that she is with child. When she tells Joseph that she is pregnant, he accuses Mary of having cheated on him. The professor of the science class (Johan Leysen), who is having an affair with one of his students (Anne Gauthier), presents the theory that life came to earth from somewhere else in the universe. Godard organizes scenes from these two narratives into an essay about the relationship between the spirit and the body, and how being is born from nothingness. The film is filled with images of light cascading over the Swiss countryside. Godard often has his cinematographers Jean-Bernard Menoud and Jacques Firmann shoot directly into the sun and capture ravishing shots of pure luminosity. Je vous salue Marie is introduced by a short film by Godard's frequent directing partner Anne-Marie Miéville entitled Le Livre de Maire (The Book Of Mary), the story of a young girl named Marie whose parents separate. Miéville's film continues the philosophical reflection on children that she and Godard started in Numéro deux(Number Two). ~ Louis Schwartz, All Movie Guide