Jean-Luc Godard Summary

Jean-Luc Godard (born 1930) may be one of cinema's greatest names, but his films remain consistently abstruse and unseen by mainstream audiences. This is a situation the French-Swiss screenwriter, dir... Read more

Critical Essay by John Simon In the phrase "the new sensibility"—it may or may not have been coined by Susan Sontag—the operative word is, of course, new, not sensibility.... Read more

Critical Essay by John Weightman [Le Gai Savoir] is such a silly and pretentious film that one cannot help wondering what Jean-Luc Godard is now up to. The hand-outs say that it was begun as a docume... Read more

Critical Essay by Penelope Gilliatt Godard's voice carries. He has finished two new films, "See You at Mao" and "Pravda," each about an hour long, in a style going ... Read more

Critical Essay by Colin Maccabe In the programme notes to Mahagonny, the notes which Yves Montand refers to in Tout va bien, Brecht defines epic theatre in terms of a radical separation of its elemen... Read more

Critical Essay by Dennis Giles Weekend is the last film of Godard's contemplative phase, a film which prepares the break of 1968. With Deux ou trois choses of the previous year, it is a site o... Read more

Critical Essay by J. Hoberman Numero Deux is a mirthless caricature of domesticity. In addition to some startlingly explicit sex scenes, the film is crammed with garrulous grandparents, battles over ... Read more

Critical Essay by John Bragin The essence of Jean-Luc Godard's La Femme Mariée is the transmutation of the dramatic into the graphic. The comings and goings of the characters, and the d... Read more