Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
A “Cinéastes de notre temps” series episode directed by french film critics Noël Burch and André S. Labarthe, originally aired in two parts.
This short film shows a young couple during a short period after the explosion of a nuclear bomb 120 km above Paris. The city appears unaffected, but the man begins to notice changes in the behavior of the people in general and in that of his girl friend in particular. Part of the Italian anthology film RoGoPaG (1962).
After leaving France in search of a better life in America, a television producer returns with a group of burlesque dancers to take the Paris club scene by storm.
The supremely world-weary Lemmy Caution, last seen in Godard's "Alphaville" (France/1965), has several strange encounters while trying to make his way from the former East Germany to "the west."
Mixing interviews, rare archival footage and film extracts, the film shows how Melville's works were impacted by what he experienced in his youth during WWII, and how it structured his whole approach to cinema, not only in its thematic but also in its aesthetics.
Four short films by four different directors dealing with the principles of modern life.
A peeping tom caught spying on a women's self-defense class is taken captive by the class leader. At first the class uses him as a training dummy, but his treatment at the hands of the ladies steadily becomes more dangerous and humiliating.
In the third part of a Cinéastes triptych on Jean Renoir, the director sits alone in a cinema analyzing scenes from La Marseillaise and The Rules of the Game, and discussing his editing and storytelling techniques.
Unfinished film by Jean Eustache . A couple kisses. A group of friends talk inside a room. One of them reads from a paper.
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
A famous French filmmaker is hired by a major Hollywood producer to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.
Two enigmatic figures with code names, Costello and the Colonel, bound seemingly by some mysterious revolutionary past, engage in an intense conversation concerning the architecture surrounding them, with possible catastrophic consequences.
A cinematographic poetry that portrays the artistic link between the French filmmaker André S. Labarthe and his disciple, the Uruguayan filmmaker Gabriela Guillermo. The letters that were written over the years testify, not only to the mutual affection and admiration, but also their will to one day make a movie together. After trouble in the production due to the teacher's delicate health and his subsequent death, we witness in the winter landscapes the creative complicity between both filmmakers.
Family mother and model wife, Agnes hits a vehicle while driving in Paris. She immediately falls in love with the driver of the damaged car.
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.
The first of three documentaries by Rivette on Jean Renoir.
Second in the documentary trilogy from mastermind Jacques Rivette, featuring a conversation between Jean Renoir and Michel Simon, who celebrate their reunion by discussing, among other things, La Chienne (1931) and Boudu Saved from Drowning (1932).
A retired Japanese ex-patriot living the life of a bohemian Parnassian painter in Paris loses his latest picture, and wanders into Belleville hoping to reclaim what is rightfully his. Along the way, the drifting stray cat comes into contact with a series of colorful dreamers on a never ending search for love - much like himself.
A troubled marriage is tested by the couple's involvement in a theatrical production of Racine’s Andromaque.
Discussion between the critics André S. Labarthe, Jean Domarchi and director Marc'O, on a film of Murnau.
A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired sometime around 2015.
The film retraces Jean-Luc Godard's notorious exhibition at the Centre national d'art et de culture Georges Pompidou in Paris between 11 May – 14 August 2006.
An overview of Luis Buñuel's career. Includes an interview with the filmmaker.
On the shooting or when talking about it, Mathieu Amalric is preparing Barbara, his film about the iconic singer, starring the incredible Jeanne Balibar.
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.
Five, even six, variations on a theme, commentary and interpretation of the same photograph. An exercise to tell and summarize the history of the Cinémathèque française.
A “Cinéma, de notre temps” series episode directed by french filmmaker Jackie Raynal, originally aired 29 May 2016.
In his meetings with various different people, Jean-Luc Godard develops his thinking about history, politics, the cinema, images and time, and this will lead to his exhibition as an artist at the Pompidou Centre. Jean-Luc Godard’s conversations with Dominique Païni, Jean Narboni, André S. Labarthe, Jean-Marie Straub, Danielle Huillet and Christophe Kantcheff were filmed at his home in Rolle, in his study, at the Fresnoy National Studio for the Contemporary Arts (in front of students) and in the exhibition rooms of the Pompidou Centre.