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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.
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.
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Unearthing the dark history behind a beloved park in Denver Colorado
The long dead ghosts of celluloid are coming back to haunt the digital space.
Laser’s hallucinatory investigative report explores Paris’s Pitié-Salpêtrière Hospital, widely considered the birthplace of modern psychology and neurology. Interviews with doctors, historians, clergy, and dance therapists reveal uncanny connections between the emergence of “hysteria” in 19th-century Paris and recent outbreaks of so-called TikTok tics.
«I often have dreams. Careless dreams. When the sun was shining. It was calm and quiet. And a peaceful sky overhead.» An experimental musical film on the theme of love. Memories of the past excite the imagination and make you evaluate what is happening in the present in a new way.
The light and the noise stain the dark night.
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Five inmates recite poetry while time keeps passing by.
After moving to Bucharest, Sânziana reflects on how this change has affected her perception of herself and her body.
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Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.
Christmas Eve in rapid camera.
A light explodes and becomes a snail.
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
Metamorphosis is a real ballet dance on the rocks, interpreted by a great climber, Patrick Berhault, and set in the picturesque countryside of Cote d'Azur and the Lingurian coast. Berhault's evolutions, in the sea, in the grottoes, on the rocks and precipices, are exceedingly difficult but they are chiefly performed to give the movement an aesthetic value. Matemorphosis is the story of a cycle without words, narrated with gestures and music. The climber Monique Dalmasso also partecipates in the film.
The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.
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.