The Stop Button Posted by Andrew Wickliffe on August 6, 2019

Une histoire d’eau has a sense of humor, which ought to do it some favors, but none of the humor connects. The short, which co-director Truffaut apparently intended to be a romance, is instead this rushed, peculiar… blathering would be the best word for it, I think. D’Eau is about...   read more

The Stop Button Posted by Andrew Wickliffe on August 6, 2019

Une histoire d’eau has a sense of humor, which ought to do it some favors, but none of the humor connects. The short, which co-director Truffaut apparently intended to be a romance, is instead this rushed, peculiar… blathering would be the best word for it, I think. D’Eau is about...   read more

The Stop Button Posted by on August 6, 2019

Une histoire d’eau has a sense of humor, which ought to do it some favors, but none of the humor connects. The short, which co-director Truffaut apparently intended to be a romance, is instead this rushed, peculiar… blathering would be the best word for it, I think. D’Eau is about...   read more

The Stop Button Posted by on August 6, 2019

Une histoire d’eau has a sense of humor, which ought to do it some favors, but none of the humor connects. The short, which co-director Truffaut apparently intended to be a romance, is instead this rushed, peculiar… blathering would be the best word for it, I think. D’Eau is about...   read more

The Stop Button Posted by Andrew Wickliffe on July 10, 2019

Somewhere around minute seven–of an unlucky thirteen–Charlotte and Her Lover's ending started to seem inevitable; predictability makes the last six minutes even more tiresome. Writer, director, and de facto lead Godard (he looped in the ranting monologue for onscreen lead Jean-Paul   read more

The Stop Button Posted by Andrew Wickliffe on July 10, 2019

Somewhere around minute seven–of an unlucky thirteen–Charlotte and Her Lover's ending started to seem inevitable; predictability makes the last six minutes even more tiresome. Writer, director, and de facto lead Godard (he looped in the ranting monologue for onscreen lead Jean-Paul   read more

The Stop Button Posted by on July 10, 2019

Somewhere around minute seven–of an unlucky thirteen–Charlotte and Her Lover's ending started to seem inevitable; predictability makes the last six minutes even more tiresome. Writer, director, and de facto lead Godard (he looped in the ranting monologue for onscreen lead Jean-Paul   read more

The Stop Button Posted by on July 10, 2019

Somewhere around minute seven–of an unlucky thirteen–Charlotte and Her Lover's ending started to seem inevitable; predictability makes the last six minutes even more tiresome. Writer, director, and de facto lead Godard (he looped in the ranting monologue for onscreen lead Jean-Paul   read more

Criterion Blues Posted by Aaron West on October 23, 2015

Oct 23 Posted by aaronwest Aaron West does another solo cast looking at one of the later Godard works, as well as one of the most inflammatory, and one of the strangest. That’s saying something for Godard. He talks about the tracking shot, the political message, the references to film,...   read more

Criterion Blues Posted by Aaron West on October 23, 2015

Oct 23 Posted by aaronwest Aaron West does another solo cast looking at one of the later Godard works, as well as one of the most inflammatory, and one of the strangest. That’s saying something for Godard. He talks about the tracking shot, the political message, the references to film,...   read more

Criterion Blues Posted by Aaron West on October 23, 2015

Oct 23 Posted by aaronwest Aaron West does another solo cast looking at one of the later Godard works, as well as one of the most inflammatory, and one of the strangest. That’s saying something for Godard. He talks about the tracking shot, the political message, the references to film,...   read more

The Stop Button Posted by Andrew Wickliffe on August 7, 2015

The best part of Weekend is Jean-Pierre Léaud singing his dialogue while in a phone booth. He then gets into a fight with leads Jean Yanne and Mireille Darc as they try to get a ride from him. Weekend is about the unreality of bourgeois life when it gets into...   read more

Criterion Blues Posted by Aaron West on April 4, 2015

Apr 4 Posted by aaronwest Back in my early days of cinephilia, I remember taking a survey film class. I had watched a couple of Godard titles by that point and was less than impressed. When we reached the French New Wave section and were asked to discuss Godard, I...   read more

Criterion Blues Posted by Aaron West on April 4, 2015

Apr 4 Posted by aaronwest Back in my early days of cinephilia, I remember taking a survey film class. I had watched a couple of Godard titles by that point and was less than impressed. When we reached the French New Wave section and were asked to discuss Godard, I...   read more

Criterion Blues Posted by Aaron West on April 4, 2015

Apr 4 Posted by aaronwest Back in my early days of cinephilia, I remember taking a survey film class. I had watched a couple of Godard titles by that point and was less than impressed. When we reached the French New Wave section and were asked to discuss Godard, I...   read more

Le Mot du Cinephiliaque Posted by Michael on December 3, 2011

To celebrate JLG’s 81st birthday, I’ve decided to make my Top of all his films. Since he is a living legend and one of the most influential directors of all time this list is a work in progress because I haven’t seen all his films. His final film; Film socialisme...   read more

Studies in Cinema Posted by Jeremy Carr on February 10, 2010

Should a film have a beginning, middle and end, it was once asked of Jean-Luc Godard. Yes, he famously responded, but not necessarily in that order (Sterritt, “Films” 20). Indeed, straying from formulaic narrative conventions has been a hallmark in the French filmmakers’ more than   read more