PARIS  —  The left-wing alliance in France won the most seats in parliament in a dramatic election dealing a surprise blow to the far-right party of Marine Le Pen looks set to throw the country into a period of political turmoil with no single group coming close to winning enough seats for a majority in parliament President Emmanuel Macron gambled on a snap election after a stunning defeat in last month’s European Parliament election promising “a clarification” he hoped would put the far right back in its box he lost seats and landed France in greater uncertainty the mood inside the president’s camp was upbeat on Sunday night with Macron himself striking a defiant tone the French president galvanized his troops: “Our ideas are still alive and [we] haven’t lost voters,” he claimed according to one participant who spoke to Paris Playbook Macron’s own position as president was not at stake: He is due to remain in office until 2027 His Prime Minister Gabriel Attal has said he’ll offer to resign though who could take over is far from clear the left-wing alliance won 188 seats in France’s 577-seat National Assembly — a gain of almost 60 The far-right National Rally and its allies finished with 142 MPs in the new legislature an increase of more than 50 on two years ago In the minutes after the initial seat forecasts were announced the far-left leader Jean-Luc Mélenchon took to the stage in front of his jubilant supporters “[We] wrested a result that everyone said was impossible in a wonderful leap of civic spirit … The people have avoided the worst,” he said After the first round of voting on June 30, Le Pen’s party was on course for its best ever election result and a majority in parliament But frantic political maneuvering in the days that followed saw Macron’s team and leaders of parties on the left muster their forces in a national effort to thwart the far right Hundreds of candidates on the left and center of French politics pulled out of the contest to avoid splitting the anti-Le Pen vote Their initial aim was to stop Le Pen’s party winning an outright majority Instead their efforts handed the initiative to the other side of French politics Attention will turn to who could become France’s next prime minister Convention dictates that Macron will invite a politician from the largest grouping to take on the role The president’s office said he would reflect on the results before taking “the necessary decisions.” Macron’s choice as the current French prime minister but he opened the door to heading a caretaker government during the Paris Olympic Games “I will carry out my duties as long as duty demands it it cannot be otherwise on the eve of such important events,” Attal said in Paris Mélenchon demanded Macron appoint a prime minister from his left-wing coalition “The president has the power and the duty to call the New Popular Front to govern who leads the radical France Unbowed party As his ecstatic supporters chanted “We won!” Mélenchon said the New Popular Front would seek to implement its manifesto including revoking Macron’s controversial pensions reforms and introducing big hikes in the minimum wage the mood at the National Rally election event in the east of the city was grim Angry Le Pen supporters booed Mélenchon when his speech was shown on TV screens The National Rally’s party president Jordan Bardella slammed what he called the “unnatural alliance” between Macron and the leftists “to stop by all means National Rally’s most important surge of its history.” “These agreements now throw France into the arms of Jean-Luc Mélenchon,” Bardella said “But we have doubled the number of our lawmakers in the first steps towards a victory tomorrow,” he said in a reference to the next presidential election in 2027 Giorgio Leali and Anthony Lattier contributed reporting EU executive is planning a two-track approach of incentives and retaliatory measures to convince the White House to strike a deal Paris accused Russia’s Fancy 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load Magazine Subscribers only Desecration or more glory Joan Didion's private diaries are revealed Magazine Subscribers only For Jewish cartoonist Joann Sfar 2025."> Pixels Subscribers only Golden Owl solution is revealed but leaves players of 31-year hunt disappointed Pixels Subscribers only Secrets of decades-long Golden Owl treasure hunt to be revealed Lifestyle Inside Chanel's French leather workshops Culture Subscribers only The marvelous bronzes of Angkor on display at the Musée Guimet in Paris Moves to oust opponents of the radical left's leader from nominations for the upcoming parliamentary elections is the worst message to send as the left has just managed to reach an alliance Published on June 15, 2024, at 12:33 pm (Paris), updated on June 17, 2024, at 9:28 am 2 min read Lire en français Profoundly torn apart during the European election campaign re-united in an attempt to block the far right This rallying is equal to the pending danger Never before in the history of the Fifth Republic has Marine Le Pen's party been so close to coming to power is in a position to win a relative or even absolute majority in the Assemblée Nationale after the French go to the ballot box on July 7 at the risk of plunging the country into chaos its political manifesto remains based on national preference the rejection of foreigners and the relativization of alterity the presidential majority no longer seems in a position to counter its rise An agreement between France's left-wing parties was reached on Thursday under the banner of the Nouveau Front Populaire The union hopes to maximize the left's chances of winning seats in Parliament by putting forward a single candidate as soon as the first round Former Socialist President François Hollande and MEP Raphaël Glucksmann who led the Socialists' list for the European election campaign with the hopes of moving the left away from LFI leader Jean-Luc Mélenchon's reputation forgoing any legitimate reservations they may have had Their doubts were rekindled on Friday evening after Mélenchon's main opponents within the party were blocked from nominations The policies that come with this alliance are intended to be radical. Their union represents a "total break" with Emmanuel Macron's policies and vows to repeal three reforms opposed by the left: Pensions unemployment insurance and immigration law This renders any scenario of an alliance with the current majority impossible the united left is engaging in a direct confrontation with the RN The measures in its program reflect a clear distancing from the European Stability and Growth Pact The left-wing alliance also hopes to smooth out the left's existential differences on the war in Ukraine the Israel-Hamas war and the future of Europe were divisive issues for LFI and the Socialists The explicit reference to the Front Populaire when it came to power for the first time in decades is intended to mobilize the maximum number of people supported by workers' unions and associations the context in which the fight is being waged forbids any lyricism Mélenchon continues to worry not only the moderate electorate Those close to Mélenchon have taken advantage of the nominations to reinforce those that hold the party together Raquel Garrido and Danièle Simonnet – all three were prevented from being candidates in their constituencies This has created dissidence from the outset is yet another sign of the authoritarian and sectarian practices that prevail within LFI This settling of scores was the worst possible message to send at the dawn of this new union Translation of an original article published in French on lemonde.fr; the publisher may only be liable for the French version Lecture du Monde en cours sur un autre appareil Vous pouvez lire Le Monde sur un seul appareil à la fois Ce message s’affichera sur l’autre appareil Parce qu’une autre personne (ou vous) est en train de lire Le Monde avec ce compte sur un autre appareil Vous ne pouvez lire Le Monde que sur un seul appareil à la fois (ordinateur En cliquant sur « Continuer à lire ici » et en vous assurant que vous êtes la seule personne à consulter Le Monde avec ce compte Que se passera-t-il si vous continuez à lire ici Ce dernier restera connecté avec ce compte Vous pouvez vous connecter avec votre compte sur autant d’appareils que vous le souhaitez mais en les utilisant à des moments différents Nous vous conseillons de modifier votre mot de passe. 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Consumers got the chance to taste dozens of outstanding wines in Chicago, with upcoming … The owner of Stoller and Chehalem wineries was devoted to the future of Willamette Valley … Inside the first U.S. location of the French luxury retailer, guests can enjoy fine wine at … Phase one of the Viticulture and Winery Technology program’s new home, funded by a $10 … The Tuscan wine company has purchased a minority stake in Tenute delle Terre Nere; De … While the White House has paused tariffs on foreign wines at 10 percent for now, the trade … The figurehead of the far left and the man who dreams of becoming Prime Minister of France declared this week: ‘Macron is finished and his supporters and the right are going to have to choose between us and the National Rally.’ Jean-Luc Melenchon’s boast is borne out by the latest polls Marine Le Pen’s National Rally is currently top followed by the left-wing Popular Front coalition Le Pen could even win enough seats to form an absolute majority in the 577-seat National Assembly given the radicalism of many within the left-wing coalition Strange as it may seem for a far-left figure like Melenchon but the Frenchman has learned much from Donald Trump which has kept the Le Pen family at bay for half a century In recent days respected political and intellectual figures in France have warned that if it comes down to a choice between Le Pen and Melenchon the latter presents a greater danger to the Republic Already a subscriber? Log in Gavin Mortimer is a British author who lives in Burgundy after many years in Paris Be part of the conversation with other Spectator readers by getting your first three months for £3 Already a subscriber? Log in A restored version of the film is being shown at Cannes Classics Considered today as one of the greatest films of French cinema, Contempt (Le Mépris) was a resounding failure financially when it was released: it failed to take the audience with it, despite the presence on screen of the icon Brigitte Bardot and the German filmmaker Fritz Lang playing himself Adapted from a 1954 novel of the same name by Alberto Moravia, the feature film tells the story of Camille (Brigitte Bardot) and Paul Javal (Michel Piccoli), a couple who live in Rome. When Paul is contacted by a producer, Jeremy Prokosch (Jack Palance) and asked to work on a cinema adaptation of The Odyssey he sees an opportunity to earn enough money to realise his dream of writing for the theatre and thus prove to his wife that he is talented even if it means deliberately allowing the American producer to woo her But the young woman refuses to take part in his scheme and the love she felt for him turns to contempt Do you think I’ve got a nice bottom?” The film is a sophisticated examination of cinema in prose form – made sublime by the music of Georges Delerue – showing its complex relationships with money and the difficulty writers experience in being able to work in a way that expresses their artistic desires who was criticised at the time for not knowing how to shoot and edit a film to get his revenge on those who took it upon themselves to dictate the future direction of cinema Along with Godard par Godard (Godard by Godard) the documentary by Florence Platarets and Frédéric Bonnaud, and Drôles de Guerres (Phoney Wars) a world premier of his final work for cinema the film is one of the three works to be screened by the Festival de Cannes in tribute to the filmmaker supervision and digitisation in 4K by Studiocanal at Hiventy with the participation of the CNC (French National Centre of Cinematography) Find all the news of the Festival de Cannes Don’t miss the latest drinks industry news and insights Sign up for our award-winning newsletters and get insider intel and trends delivered to your inbox every week Professionals throughout the industry share their remembrances of the legendary sommelier and retailer While many reveled in post-holiday relaxation this week the New York wine scene was jolted by the unexpected passing of Jean-Luc Le Dû one of the city’s most prominent sommeliers and fine-wine retailers a dear friend to anyone lucky enough to have been part of his life “There are people who make the world better by what they do and people who make the world better by who they are Robertson worked alongside Le Dû for seven years and generosity that Le Dû brought into his life—and the lives of his colleagues and customers “Now that he’s gone,” Robertson says “there’s a little less shine in the world and his absence in death looks to loom just as large as his presence in life.” He notes that while many friends and acquaintances will write about Le Dû’s passion for wine the head sommelier of the University Club in New York City and a cofounder of Wheeling Forward an organization that supports recently disabled people recalls Le Dû as a friend and mentor who helped change his life’s path “I was in a car accident in 2003,” Benjamin says I was already working in restaurants; I had already made the decision to be a sommelier.” After his accident and he had to confront the challenges that his new physical condition would present in his career Benjamin returned to his post at the Ritz-Carlton New York though he replaced his time on the floor with office work A mutual friend suggested that Benjamin meet Le Dû was born in the same small village that Benjamin’s father was from “I was going in for surgery for this infection in my leg,” says Benjamin I see a missed call; I listen to my voicemail But I was so down in the dumps about getting surgery Talk about bad timing.” Benjamin recounts that after a few weeks he finally had the courage to go meet Le Dû in person “and he was unbelievably kind—and at that moment in my life I was really almost giving up hope that I was going to be able to find work in the wine and hospitality industry let alone find work as a paraplegic; when you’re trying to find work in an industry that’s very image driven it’s challenging.” Le Dû received Benjamin with open arms excited that he’d finally made it into the store And although Le Dû didn’t have a position for him immediately Benjamin proposed a makeshift internship at the shop Benjamin worked at Le Dû’s Wines until September 2017 Le Dû supported his continuing education throughout that time as Benjamin completed his Advanced Diploma from the Court of Master Sommeliers finished second and third place in two America’s Best Sommelier competitions “I don’t think I would’ve accomplished any of those things if I didn’t land in that store a small town located in the country’s coastal region of Brittany It wasn’t wine that first brought Le Dû to the States in the mid-1980s Le Dû headed to America with dreams of pursuing rock music—that is until a 1964 Cheval Blanc found its way into his glass Le Dû was instantly hooked and took various positions in some of New York’s most esteemed restaurants where he could get his hands on his newfound passion Le Dû accepted a sommelier position at Restaurant Daniel greatly expanding the restaurant’s wine program and winning the hearts of the restaurant’s regulars Though it wasn’t only the wine that won them over; it was also Le Dû’s dynamism and exuberant passion for his craft including Best Sommelier Northeast America in the 1997 Sopexa Competition Wine Spectator magazine’s Grand Award in 2002 and the James Beard Foundation’s 2003 Award for Outstanding Wine Service But recognition was never what mattered to Le Dû leading him to the next step in his career Philippe Marchal met Le Dû in April 2001 while interning at Daniel Le Dû offered Marchal an assistant position which led to a three-year working partnership at the top restaurant “It was the most intense and passionate moment of my sommelier career,” says Marchal who is now the portfolio manager for Austria and France at Massanois Imports in New York City I learned to work with a rock star.” Marchal says he discovered Le Dû’s passion pretty quickly and he describes the lively atmosphere Le Dû created at the restaurant including the nonstop playing of the Clash and the Ramones in the cellar “He showed me New York by night as well,” says Marchal “It really was one of the best experiences of my life.” Philippe’s wife and a former David Bowler sales rep notes that Le Dû’s hiring of Phillippe set the stage for her to meet her future husband “When I’d call on Jean-Luc at the store,” she recalls “he always joked [about] how he should get all the credit for my happy love life.” the general manager and beverage director of the restaurant Marc Forgione in New York City recalls a unique happenstance in the Rhône Valley with the legendary vigneron Thierry Allemand Conway describes his initial interaction with Allemand as somewhat guarded and cold Allemand invited him down to his personal cellar to find a bottle to share “He decided on a bottle of 1999 Sans Soufre,” says Conway explaining that Allemand proceeded to reveal the history behind this now relatively well known cuvée “He let us know that a guy that he had enormous respect for in New York  had come to taste with him in the mid-‘90s.”  Allemand recounted that he’d made a small amount of wine without sulfur and he offered Le Dû a taste of his newfound experiment “Jean-Luc tasted those wines,” says Conway that he wanted Thierry to bottle wine in a large amount with no sulfur.” Allemand explained to Conway that his gut reaction was to say no though after much persuasion—and an agreement from Le Dû to pay up front—he took the plunge 20 of which were sold directly to Restaurant Daniel Though sulfur-free wines are somewhat common now the concept was practically unheard of (in America) Le Dû was buying them for a fine-dining restaurant two decades ago “He believed in the producer and the region and to pay up front for a sizable quantity—that stuck with me,” says Conway I had the conversation with him about how special it was I’m not sure if that program [sans soufre] would exist if Jean-Luc didn’t show the confidence in Thierry to bottle that wine I couldn’t think of a better testament than someone who believed in somebody I was very impressed by his foresight and humble nature.” Conway remembers Le Dû as a powerful and thoughtful person not just in the New York City wine community but the wine world at large Le Dû opened his namesake retail shop on Washington Street sleek space has showcased Le Dû’s favorite producers and art was always intertwined with his love for wine I was lucky enough to see for myself how easily his passions mingled Jean-Luc and I happened to be in the City of Lights at the same time Although we’d been friends in New York for just a few short years we decided to meet for lunch on a cold winter day on Rue Daguerre I walked up to the restaurant and spotted him before he noticed me—red plaid shirt; blue thick-framed glasses; and laughing on FaceTime with a friend pulling my seat out to settle me in across from him we sat on the enclosed terrace of a simple bistro laughing over cheap Loire Valley reds and chain-smoking Parliament Lights until the waiter finally brought us our bill Neither of us had plans for the rest of the day we found ourselves just around the corner from Paris’s Catacombs We chugged one last glass of wine and ventured over we crawled through the underground tunnels scattered with bones taking pictures of each other and making up stories of what might have been the lives of each of the perfectly placed skulls we wandered through the Luxembourg Gardens in a wine-induced haze slowly made our way to Fnac so that he could buy an album he’d been hunting for and he started grabbing CDs and albums every few feet asking me which songs I knew and scolding me for “not knowing the classics.” When we checked out and exited the store he pulled a purple CD from the plastic bag and handed it to me that I must listen to it as soon as I returned home and headed to Le Comptoir to end the day with a glass of wine and dessert I’ll never forget the way he asked me to take his picture because he was “as happy as a pig in shit.” This photo will always be my favorite of him your mark on New York’s wine industry will never be forgotten the personal impact you’ve had on the lives you’ve touched will allow your legacy to continue far beyond your years (If you have a story or anecdote you’d like to share please send it to us: erica@sevenfifty.com.) New York: “I remember Jean-Luc coming over to one of my first Vino & Vinyl parties at my place He brought a big case of 45s from his old DJ’ing days in Brittany Finally my buddy (not in the wine biz) came up to me and said who’s that dude bogarting the table?!”  We had a good laugh and a great time [it was] the last time I saw him but a memory I will hold on to forever describing Le Dû’s generosity and willingness to help his nonprofit organization whose first event raised over $20,000 and was held at Le Dû’s shop: “Every time that we help another person with a disability transition from a nursing home to independent living every time we do household modification or help because we were able to generate that first base of money at the store He so generously shared his client base so they could come and support us He was totally about what we are: quality of life.” and author of Food Sake Tokyo: “I was a student at the French Culinary Institute in NYC in 2000 I was also simultaneously studying wine with the American Sommelier Association Jean Luc allowed me to volunteer in the cellar at Daniel Each time a distributor came by with wine he would invite me to join in on the tastings from stocking the cellar to helping put together the wine list as vintages and inventory was constantly changing One of the memories that sticks in my mind the most was when I had dropped a half-bottle of wine that broke with a loud crash and splash Jean Luc came around the corner and told me not to worry adding that I was lucky that it was not too expensive of a wine I moved to Tokyo and was the sommelier at the Park Hyatt Tokyo’s New York Grill & Bar Was so happy to see Le Du Wines in the Village on return visits to NYC Thankful for Jean Luc’s kindness and generosity as did many of our friends we turned on to it) P.C.: “I got engaged and married at Restaurant Daniel in 2002 who had a few bottles of red and white for us to try but what I remember most clearly is how I joked that all we needed would be some Chateau d’Yquem to go with the dessert course Jean Luc said that he had a double magnum of 1990 that he would sell me (at a price I will not mention but particularly the d’Yquem as most of them had never had it before (and some had never even heard of it) I still have the empty bottle in my apartment as a keepsake Although we only knew each other through Restaurant Daniel from that first meeting and when I would see him working when I had dinners at Daniel thereafter I was fortunate to sit next to Jean Luc at a small dinner of friends (and friends of friends) within the last year or so through my friendship with Markus Draxler Jean Luc was gracious in saying that he remembered that I had purchased the d’Yquem What mattered to me was how full of life he was I regret not getting to know him better over all these years.” Don’t miss the latest drinks industry news and insights—delivered to your inbox every week and travel journalist based between New York and Paris She also works as a content creator / social media manager for a list of prestigious clients pioneering Black winemaker Mac McDonald reflects on the community he’s fostered Winegrower Christopher Howell discusses how the Spring Mountain producer is rebuilding after the devastating Glass Fire in 2020 and using library releases to manage availability Head bartender and beverage director Brendan Bartley discusses the New York City Roaring Twenties-inspired cocktail bar’s new spot on the West Coast From winemaking to hospitality and NYC to Charleston Erin Miller and Matthew Conway detail their career moves over the past two years Learn more about how Provi simplifies the complex process of ordering and promoting wholesale alcohol between buyers SevenFifty Daily is an award-winning online magazine about the business and culture of the beverage alcohol industry covering all three tiers of the alcohol industry A jury of 27 journalists from the French automotive sector has named Luc Donckerwolke Hyundai Motor Group’s President and Chief Creative Officer (CCO) the French publication Le Journal de l’Automobile’s 2022 Man of the Year the jury not only recognises the success and innovation of Hyundai Motor Group but also celebrates Luc Donckerwolke’s contribution to its achievements Donckerwolke received the title for revolutionizing the design of the Group’s portfolio of automotive brands: Hyundai Donckerwolke introduced the ‘Sensuous Sportiness’ design language exclusively for the Hyundai Motor brand in 2018 to give each Hyundai model a distinctive look he found that automotive design can generate emotional value His design philosophy has since proven successful with Hyundai’s IONIQ 6 and IONIQ 5 models winning ‘World Car Design of the Year’ respectively in 2023 and 2022 while other Genesis and Kia models are also highly recognized by numerous publications and organizations Donckerwolke’s 30-year career as an automotive designer has enabled him to gain global experience working for many prestigious brands He joined Hyundai Motor in 2016 and was appointed as the Group’s Chief Creative Officer in 2020 overseeing the design direction and strategy of the Hyundai Motor Group's brands Hyundai Donckerwolke’s main responsibility is overseeing the creative aspects of the Group’s brands as well as strengthening their identities Le Journal de l’Automobile’s Man of the Year award honors a figure in the automotive industry who has made a defining mark over the past year the French automotive trade publication asks journalists to nominate three people whom they think are deserving of the award Hyundai Motor Company has secured six honors at the 2025 Red Dot Award: Product Design competition Hyundai INSTER has been honored with the title of 2025 World Electric Vehicle Hyundai’s INSTER has been named a ‘Top 3’ finalist in the 2025 World Car Awards marking the fourth consecutive year Hyundai has been recognized Executive & Internal Communications Expert Corporate & Brand Communications Expert © Copyright 2025 Hyundai Motor Company We use cookies for analysing our own services and to show ads which are relevant for you based on your browsing habits. 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For more information click here. 370 riders knuckled down to business in the first round of the 2022 French Enduro Championship in the town of Le Luc uncertainty reigned before the first special test but in the end the favourites held their rank with Loic Larrieu returning to racing in E1 Theo Espinasse and Hugo Blanjoue bossing E2 class plus Leo Le Quere in E3 all the main riders to watch across the two-day weekend riding the Fantic under the Bonneton 2 wheels team in his domestic series took the lead from the first special of the day ahead of Till De Clercq (Dafy Enduro Team) and Anthony Geslin (Atomic Moto) who was making his return to the French championship after sitting the 2021 season out with injury methodically increase his lead over the two days for a comfortable season opening win De Clercq and Geslin traded the runner-up place ahead of young KiIlian Lunier who’s moved up from the Juniors this year The middle E2 category was the hottest contested and most dramatic with Zach Pichon (Sherco) Theo Espinasse (OxMoto Beta) and Hugo Blanjoue (Elite Moto 15 KTM) fighting each other and by default for the overall fastest scratch honours A post shared by Theo Espinasse (@theoespinasse7) a leg injury hampered Pichon and his tiem began to slip Espinasse upped his game meanwhile to take the provisional lead and closed the day out with the overall only to make an error at the pre-finish which cost him a minute penalty and relegated him from first to third place Pichon it was then who took the win on day one with an overall time of 44:21.25 ahead of Leo Le Quere 44:35.15 Blanjoue on 44:47.21 and Loic Larrieu 44:55.66 The victory in E3 category on both days went the way of Leo Le Quere on the Sherco Academy machine He took a scratch P2 and a comfortable win by more than 40 seconds ahead of Luc Fargier (OxMoto Beta) with Antoine Basset (Atomic Moto) on day one Basset and Fargier reversed their positions on day two but Le Quere was faster than not just his E3 rivals but outright with a final time of 42:57.38 compared to Blanjoue’s 43:15.94n (day two E2 winner) Espinasse on 43:31.68 and Larrieu’s 43:39.17 (day two E1 winner) Justine Martel took her Elite Moto 15 KTM to a double win in the enduro women class Mauricette Brisebard confirmed her day one results with a repeat second place on day two ahead of Marie Froment and Morgane Perez respectively over the two days Full results from all classes: www.enduro-france.fr/resultats/ Photo Credit: FFM/French Enduro Championship Create a personal Enduro21 account to access our new forum receive exclusive competitions and money saving offers Enduro21 is all about motorcycle enduro and off-road riding. Read more Donations to Enduro21 can make a huge difference to what we do Learn more We're on the lookout for writers, photographers, videographers and enduro enthusiasts, from all around the world. Read more This website uses cookies that are necessary to its functioning and required to achieve the purposes illustrated in the privacy policy By accepting this OR scrolling this page OR continuing to browse Media Play News Lionsgate will release Jean-Luc Godard’s French New Wave classic Le Mépris (Contempt) for the first time on 4K UHD digital on Sept 12 and limited-edition 4K UHD (plus Blu-ray) disc on Oct The release features a special introduction by Colin MacCabe and author of Godard: A Portrait of the Artist at Seventy The romantic drama features performances by Brigitte Bardot (…And God Created Woman) Jack Palance (City Slickers) and Fritz Lang (M).           Subscribe HERE to the FREE Media Play News Daily Newsletter! Weaving provocative storylines with a stunning visual style the film is about a director (Michel Piccoli) whose wife Camille (Bardot) falls out of love with him while he rewrites an adaptation of Homer’s The Odyssey for an American producer (Palance) But underneath this tale of a doomed romance lies Godard’s true subject: the commercial film industry which he skewers in an unforgettable tour de force that is subversive Update (10/9/23): 4K Ultra HD Disc street date changed from Sept Critically acclaimed western Hostiles will be released on digital April 10 and on disc and on demand April 24 from Lionsgate The title will be available on disc in a 4K Ultra HD Combo Pack (plus Blu-ray Disc and digital) and a Blu-ray… Twentieth Century Fox Home Entertainment has set release dates for Ferdinand the 3D computer-animated comedy-drama adventure movie from the creators of Ice Age and Rio based on Munro Leaf and Robert Lawson's children's book The Story of Ferdinand The Greatest Showman will arrive on digital and Movies Anywhere March 20 and VOD Blu-ray Disc and 4K Ultra HD Disc April 10 from Twentieth Century Fox Home Entertainment the latest installment in the "Fast and Furious" franchise will come out with a new director’s cut on digital Sept 21 from Universal Pictures Home Entertainment Please enter an answer in digits:five × 1 = Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" This site uses Akismet to reduce spam. 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Click here to read the latest edition cover to cover You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed Jean-Luc Godard is a famously autobiographical auteur the 89-year-old French filmmaker’s pictures are “littered with references to films places and political ideals that have shaped his personality and psyche” Godard enjoys blurring the line between fiction and reality frequently presents his movies in a fragmented fashion (“a film should have a beginning but not necessarily in that order,” he memorably proclaimed) and demands that his viewers participate in his work “I don’t really like telling a story,” he has said a background on which I can embroider my own ideas.” His latest project, a long-term collaboration with the Fondazione Prada titled ​Le Studio d’Orphée​ (“Orpheus’ studio”) is an extension of this artistic ​conceit​ Rather than simply present an exhibition on his creative practice He has created what he terms an atelier (“a recording and editing studio a name that nods to the intense craftsmanship behind his filmmaking the atelier contains various items of technical gear used by Godard during the editing production and post-production of his recent films all kinds of lamps and a number of overlapping rugs fill the space Within the comfort of this intimate environment – which opens to the public for the first time today – visitors will be able to watch some of Godard’s films screened on a large monitor (usually used by the director as a working tool) placed atop a small wooden chest of drawers These include his most recent feature​ Le Livre d’image​ (The Image Book 2018) and nine shorts made between 1993 and 2008 fragmentary and multi-layered nature of ​Le Livre d'i’mage ​which combines words and digitally altered colour-saturated film clips to offer up a confounding yet powerful social commentary is purposefully mirrored in Godard’s atelier “[The elements on display] create a spatial and emotional geography within which visitors will be invited to live an experience of exploration without imposed ideas or a univocal interpretation.” Godard is not giving interviews on the occasion of ​Le Studio d’Orphée​’s opening so those intrigued by this peep-hole into the director’s visionary working methods will just have to visit it for themselves But a typically enigmatic quote of his may hint at the wider intention of this meaningful curation of objects by way of exhibition (timed to coincide with Godard’s 89th birthday): “Objects exist and if one pays more attention to them than to people it is precisely because they exist more than the people Le Studio d’Orphée is open to the public from Wednesday to Monday from 1pm to 7pm Booking is required to visit the space and can be made by all visitors holding an admission ticket at Fondazione Prada’s desk Your Ads Privacy ChoicesIMDb, an Amazon company© 1990-2025 by IMDb.com, Inc. The incident allegedly occurred on Thursday night by Andrew Liptak FacebookThreadsPhoto by Han Myung-Gu/Getty ImagesYesterday, French radio station Europe 1 reported that Paris authorities have opened an investigation against French film director Luc Besson after an actress told them that he had raped her the night before the actress says that she met Besson on Thursday evening at the Bristol hotel in Paris as the Cannes Film Festival was wrapping up She describes how she was given a cup of tea and blacked out after drinking it and awoke realizing that she had been raped She says that the director left a wad of money for her before departing The actress also noted that she had previously been in an intimate relationship with Besson for two years one that she felt pressured into for “professional reasons.” In a statement to AFP News Service Besson’s lawyer says that the director “categorically denies these fantasist accusations,” and that the actress is “someone he knows towards whom he has never behaved inappropriately.” A weekly newsletter by David Pierce designed to tell you everything you need to download, watch, read, listen to, and explore that fits in The Verge’s universe. Your Ads Privacy ChoicesIMDb Criterion provides Godard’s freewheeling ode to amour and its ineluctable betrayal with a spiffy new 2K upgrade Gebert wrote that Jean-Luc Godard “was exciting when either you or the whole world was 20.” I’d push the age up at least another decade but there’s certainly some truth in that notion and the maxim applied most notably to Godard himself The ideas rattling around in the earlier film are as skeptical as they are profuse—guns and wordplay dominate the mise-en-scène—but haven’t yet rotted into real-deal contempt The film begins with Ferdinand (Belmondo) apparently scraping together a nice bourgeois existence for himself and his wife whose economic contentment is summed up by the fact that she can go to parties in her new panty-less the comment is clearly said in mockery of both consumerism and feminine concerns but the image—that of a perfectly aligned Madison Avenue-engineered derrière—is just as clearly appreciative of what youth the discussions among a group of party guests become product placements with women in particular prattling on about all their new sartorial acquisitions even as they mysteriously lose pieces of their clothing while Ferdinand wanders from room to room he returns home and runs off with the family babysitter Godard foreshadows the futility of their attempted escape from vapid pop culture by staging their vehicular flight in a dizzying blizzard of richly hued lights—meant to represent passing streetlights—that are the same colors of the rooms at the party once the couple gets past a few murders loosely connected with Marianne’s apparent associations with organized crime and Ferdinand settles into a Robinson Crusoe-by-way-of-Holden Caulfield lifestyle along a stretch of the French Rivera not a half-mile down from the tourist hotels Ferdinand tries to devote himself to the lost art of reading but sneaks into movies (sitting behind Jean-Pierre Léaud) and Marianne insists they move onto their next adventure preferably one with a little bit more connection with the material world that previously provided her with so many enjoyable 45s isn’t quite as magnanimous about the harmless dangers of pop music.) Though the whiz-bang comic book-panel aesthetic of Pierrot le Fou is as potentially intoxicating as any contemporaneous head movie it’s also one of his most finely balanced works one that successfully straddles generational gaps far wider than the one separating Ferdinand and Marianne—even the one separating 1960s-era Godard from latter-day JLG/JLG Criterion presents Pierrot le Fou in a new 2K restoration that’s a few notches above their already excellent—and long out-of-print—2009 release in terms of color saturation and the clarity of fine details Raoul Coutard’s ravishing Techniscope cinematography looks livelier than ever one slight discrepancy between the two releases: The earlier Criterion release applied a green filter to the scene where Jean-Paul Belmondo’s Ferdinand meets Samuel Fuller at a boring bourgeois party whether it be snatches of Beethoven’s Fifth Symphony or Antoine Duhamel’s broody score All of the extras on this Blu-ray release of Pierrot le Fou have been ported over from past Criterion releases of the film Anna Karina discusses how her working relationship with Jean-Luc Godard gave her the opportunity to play very different characters from film to film how they worked from a daily script installment and how important her relationship with him was for her personal development incisive reading of about the first 15 minutes of Godard’s film—so bursting with ideas and insights that you may wish he’d done a piece on the whole film an intimate documentary from 2007 by writer and director Luc Lagier delves into the complex working and personal history between Godard and Karina with talking-head commentary from collaborators who knew them relatively well There’s also a puff profile piece on Belmondo with contributions from Godard and Karina and an extract of interviews with the three principals for the 1965 Venice Film Festival the set includes a thick illustrated booklet that contains a 1969 review of the film by Andrew Sarris and a 2007 essay by film critic Richard Brody that explores the improvisatory nature of Godard’s process Criterion provides Jean-Luc Godard’s freewheeling ode to amour and its ineluctable betrayal with a spiffy new 2K upgrade but all the extras have been ported over from past releases Eric Henderson is the web content manager for WCCO-TV His writing has also appeared in City Pages Budd Wilkins's writing has appeared in Film Journal International and Video Watchdog He is a member of the Online Film Critics Society document.getElementById("comment").setAttribute( "id" "ac973446e245f7446948d9d3073978f6" );document.getElementById("facec42938").setAttribute( "id" and website in this browser for the next time I comment Jean-Luc Godard was among those who pushed cinema's aesthetic and narrative limits while embodying the New Wave The French-Swiss filmmaker died on September 13 By Jacques Mandelbaum Jean-Luc Godard in 1987. PASCAL VICTOR/ARTCOMPRESS VIA LEEMAGE Born on December 3, 1930 in Paris, the most illustrious of French-Swiss film artists died on September 13, Le Monde learned, confirming an earlier report by Libération During the course of a career spanning over 60 years he takes with him something that has been torn from the collective consciousness there is the loss of one of the greatest filmmakers of all time the electroshocks of images and sounds that his work rekindles in the memory of his contemporaries around the world and with a sphere of influence that very few French filmmakers ever reached Then there is the last roll of the New Wave A symbolic moment finally relegating what was dubbed "cinematographic modernity," alive while Godard still was into a chapter in the great book of cinema This creative rupture of modernity born with Italian neo-realism from the disaster of the Second World War is what Godard embodied more passionately So much so that he immediately became the movement's standard-bearer all over the world an example followed and admired by all those who thought cinema was created to change the world a genius of provocation and a furious self-destructing personality Godard delivered as many blows as he received Godard demands to be placed as high on the cross of modern cinema's tortured gods as Michelangelo Antonioni and Ingmar Bergman They both preceded him into the grave on the same day These three film icons engraved the modern odyssey of love's disarray and the torture of couples in Celluloid's inflammable marble It would be an exaggeration to claim that it only took one film for Godard to rise to this level including the rest of its creator's career an aesthetic shock and influence for many future filmmakers A bout de souffle remains part of the short list of films that have changed the history of cinema its plot is startling in its banality: a young thug named Michel Poiccard (Jean-Paul Belmondo) falls in love with Patricia Franchini (Jean Seberg) The boy dreams of the impossible; the girl prefers to deal with the possible he describes what happened as "dégueulasse" (disgusting) a word that his fiancée neither wants nor can understand on the set of the film 'Breathless' (1960) RAYMOND CAUCHETIER What really matters in this film lies elsewhere: In the film's emotional editing in the sense of rediscovered freedom by bodies in the proud allure of a cobbled-together and inspired cinema that in a single day seemed to have become a hundred years younger It is also in this distillation of cinephilic material that extracts an equally singular essence from the mixed influences of Nicholas Ray More than François Truffaut's Les Quatre Cents Coups (The 400 Blows A bout de souffle was the New Wave's inaugural film because it invented the form that best corresponded to the movement's innovative spirit and because it celebrated the coming of age of a generation discovering itself and imposing its values on French society The recognition of this film was a moment of precarious grace in Godard's life and career which was marked by the all-consuming permanent revolution This began very early on within his family circle This scion of the Franco-Swiss Protestant upper middle class lived through the horrors of the Second World War in the cocoon of the privilege afforded by his birth and his young age during which he discovered his grandfather's collaborationist affinities His increasing misbehavior led him to fall out with his family who forbade him to attend his mother's funeral in 1954 the young outlaw had found a second family under the auspices of the ogre Henri Langlois and the critic André Bazin and his Cahiers du Cinéma comrades They were preparing their invasion on the cinematographic scene by proclaiming their love of American genre cinema their auteur policy and their detestation of a French corporation they considered prodigiously sclerotic a movement of rebellious sons searching for freely chosen fathers became the pursuit of an aesthetic genealogy Yet this second family also fizzled out in the mid-1960s The price to pay for the New Wave's undeniable artistic and ideological victory in the long run was its failure in terms of box office receipts and the group's splintering into the many individualities composing it Compared to the reformism of Truffaut and Chabrol and the strategic withdrawal of Rohmer and Rivette Godard became the one who kept the sacred fire of permanent revolution alive at the risk of a permanent rupture combining the explosion of a genius mind and the temptation of a scorched earth policy the dream of collective solidarity and a sinking into solitude This was to be Godard's destiny: furious victories and bitter disappointments His was the story of a man who never stopped wanting to recreate a family while ensuring that no one could ever fulfill this desire Godard became the one who maintained the sacred fire of permanent revolution His work devoted to this ambiguous quest traces a long and winding path –more than one hundred films in a career spanning some sixty years and marked by several major cinematic periods The first one sees an insolent young creator full of talent establishing himself in a few years as a great artist despite censorship for his film on Algeria (Le Petit Soldat "The Little Soldier," 1963) and the bitter failure of his attempt at fierce Brechtism (Les Carabiniers A string of successive titles reminded us of his ironic and graceful genius who melted in the crucible of cinema lightness and melancholy the ambition of thought and the lyrical trembling of emotions love of genres and the poetic freedom to betray them the chronicle of his loves and the acute intuition of the social issues of his time All this and so much more is on display in Une Femme est une femme (A Woman is a Woman Vivre sa vie: Film en douze tableaux ("My Life to Live," 1962) and Masculin féminin ("Masculine feminine," 1966) Jean-Luc Godard with Michel Piccoli and Brigitte Bardot during the filming of 'Contempt' in Italy in 1963 JEAN-LOUIS SWINERS/GAMMA-RAPHO Le Mépris (Contempt) (1963) a haughty and torrid meditation on cinema with Michel Piccoli and Brigitte Bardot and then Pierrot le fou ("Pierrot the madman,"1965) a Rimbaudian road movie about a couple on the run with Jean-Paul Belmondo and Anna Karina – the woman Godard was separating from – were the touchstones of his artistic elevation sanctioned by Aragon in the magazine Les Lettres françaises: "What is art I have been struggling with this question ever since I saw Jean-Luc Godard's Pierrot le fou where the sphinx Belmondo asks an American producer the question: 'What is cinema?' There is one thing I am sure of so may I at least begin all stands before me and frightens me with an assertion like a solid stilt in the middle of the swamp: art today is Jean-Luc Godard." Thus begins the article "Qu’est-ce que l’Art the poet's eloquent praise for a young filmmaker who he celebrated as an avatar of modern painting's inventors As soon as he acquired this status of acclaimed artist Godard undertook to undermine and destroy it All without sacrificing Marina Vlady's melancholic beauty or Anne Wiazemsky's disarming candor the educated investigator of capitalist inhumanity (Two or Three Things I Know About Her 1967) and the critical companion of the young Maoists of Nanterre (La Chinoise RUE DES ARCHIVES/COLLECTION CSF This era while promoting the liberation of individual desire also celebrated the dissolution of the individual in collective action who contributed to the collective film Loin de Vietnam ("Far from Vietnam,"1967) supported the workers' strike at the Rhodiacéta in Besançon seized cinema's means of production under the name "Medvedkine groups" (1967) marched in support of Henri Langlois who was threatened with dismissal (February 1968) hung from a curtain of the Palais to interrupt the Cannes Festival in solidarity with the student revolt (May 1968) He was also the anonymous director of "cinétracts" inspired by the Situationist International during the protests of May 1968 and then of a provisional assessment of the movement in Un film comme les autres ("A Film Like Any Other," June 1968) shot in Flins – the last and bloody bastion of the revolt where high school student Gilles Tautin was killed – where he recorded the words of the Renault factory workers The failure of the May 68 movement radicalized his approach prompting the director to refuse to make cinema according to the industry's rules He still managed to get movies made on the strength of his name alone and went so far as to sabotage the "Jean-Luc Godard" name by creating the Dziga-Vertov group (a pioneer of Soviet cinema) a cinematographic-revolutionary phalanstery created with Jean-Pierre Gorin a young journalist from Le Monde who introduced him to Maoist circles and who This led to the release of several hot-button films in which dogmatism competed with grace such as the Marxist-Leninist western Le vent d'est ("Wind from the East," 1970) Disappearing into the folds of the Dziga-Vertov group Godard became absent (a longstanding temptation) while becoming more international Pravda (1969) was shot on the Czechoslovak front Luttes en italie ("Struggles in Italy") in the Italian peninsula (1970) and Jusqu'à la Victoire ("Until Victory," unfinished) in Jordan alongside Fatah Godard is absent (a longstanding temptation) while becoming more international usually refused by the television networks that also produced them He had a falling out with many of his friends; Wiazemski left him he attempted several times to kill himself and his reputation in the profession faded In one of his last and rare interviews (Les Cahiers du Cinéma the filmmaker summed up his situation with the hindsight of his 88 years of age and a touch of Swiss placidity: "I am in favor of disobedience I thought I could be involved in world affairs she tells me: 'Go out into the world and make your revolution the failure of the revolutionary form of cinema he dreamed about combined with a serious motorcycle accident Solicited by the young and glittering producer Jean-Pierre Rassam he returned to the center stage with the humorously titled Tout va bien ("All is Well," 1972) the death certificate of leftism in France it deconstructed this moment of the Godardian dialectic marked by the mourning of the Dziga-Vertov utopia (his separation from Gorin was brutal) but without giving up on "politically" making movies His attention to the conditions of production and distribution his deep technical knowledge and his great care to measure the ideological repercussions in his own way of making cinema proved it Godard never regained the status he once had with the public it is not clear that it was something he actually cared about The filmmaker did not give up his taste for experimentation he frequently took part in criticizing the media (in the monthly magazine of the proletarian left J'accuse) created a real audiovisual laboratory (Sonimage) was a pioneer in video's plastic and critical possibilities (Ici et ailleurs "Here and Elsewhere," 1976) and tried to confront television on its own ground by proposing two monuments of alternative information (Six Fois Deux in 1976  and France/tour/détour/deux enfants "France/tour/detour/two children" in 1977-1978) Yet it was not until the late 1970s that he reentered cinema's traditional system with a series of fictions more disconcerting than ever not by chance inaugurated by a film entitled Sauve qui peut (la vie) (Every Man for Himself) was afforded to him by film producer Marin Karmitz and Alain Sarde A new Godardian vein was discovered in this film whose characters are dazedly trying to escape from an impasse although deceptive if we conclude from it that Godard has shelved his own restlessness Godard's epiphany was accompanied by a deliberate slowing down a hunger for air and light and an incessant variation on the ideas of resurrection and duality It was as if he had rediscovered the taste for filming the world as it is without betraying his desire to strain towards the world as it should be Louis Malle and Roman Polanski at the Cannes Film Festival TOURTE/STILLS/GAMMA This kind of religion of images as a place of mystery and freedom whose genealogy lies in the history of Western art succeeded the dogmatic temptation of a word that was now disqualified much like the Dziga-Vertov period wanted to do away with the famous "auteur policy." Each Godardian period was thus both a self-criticism of the previous one and a rebirth Were his dialectics of the old and the new – his role in the New Wave his interest in history and each of his films taken separately – not always his beautiful and perhaps his only concern 'I try to risk the death of what I know how to do as the only possibility of survival' of himself in an interview with the Nouvel Observateur in 1980: "I try to risk the death of what I know how to do as the only possibility of survival." From Sauve qui peut (la vie)(1980) to Nouvelle Vague (New Wave particularly his belief in the redemptive role of images in the economy of salvation Yet this celebration was truly pantheistic the vibrant bodies of young women (Maruschka Detmers as Carmen Myriem Roussel as Mary) and art as a whole The films of this period abound with many joyfully irreverent references to music it also marked the grand return of movie stars in his films unwillingly put at the service of Godard's scathing contempt for the materialism and cynicism of the 1980s the one who accompanied him from now on in his life a photographer he met in 1971 and who became the privileged partner of his mature years She was his third "Anne," after the fiery Karina and the youthful Wiazemsky as death – a faithful companion in his films – crept closer the impression Godard gave was of a man increasingly alone to which he lent prestige along with Chris Marker It is evident that nothing in Godardian work The art of editing and the analysis of the relationship between images were always at the forefront The great Godardian figure was now a meditative and melancholic look back on things from his Swiss retreat in Rolle on Lake Geneva from the very location of his own childhood a deeply moving diary in which this offspring of a Protestant lineage went as far as he could to reveal himself And on his art and its relationship with history with the monumental video essay Histoire(s) du Cinéma (Story/Stories of Cinema)(1989-1999) A colossal project which aired in eight episodes on Canal+ in 1998 this video montage chronicling the history of cinema bristled with flashes of brilliance and was steeped in mad erudition as it presented cinema a great hypnotic power watching over the ghosts of history as the ultimate chapter in the history of Western art The miracle he performed was that these general and interdependent Histoire(s) as well as all the diverse materials (films a creation as personal and sensitive as this one or at least of the idea of cinema as conceived by a certain cinephilia GAMMA-KEYSTONE VIA GETTY IMAGES This was what haunted Godard in this project adding to the sepulchral consciousness of his own disappearance and of a filial transmission that never occurred discreetly revealed Godard's suffering on this point his acute and heartbreaking awareness of never having been able to be anything other than a son of cinema Even his fictional movies now presented an increasingly ghostly framework to his mortified consciousness of the world from Allemagne 90 neuf zéro (Germany Year 90 Nine Zero an archaeological project on German reunification in which he interwove dark meditation on the ex-Yugoslavian and Israeli-Palestinian conflicts This last issue and all that touches more widely on Judaism had thus far been to characterize it with the utmost respect His ultimate film finally was released in 2010 or at least one self-proclaimed as such and presented at the Cannes Film Festival while its author was absent: Film socialisme (Film Socialism) It was in truth a farewell to both cinema and socialism it was also the incrimination of a system where The film represented it with a luxury cruise obliviously sailing towards catastrophe but he was neither the first nor the last to postpone his departure He shot at the same time Adieu au Langage (Farewell to Language a 3D movie about a dog that speaks in place of its masters a couple that has lost all notion of a common language the filmmaker used the film to express a strident whine a chaotic recounting of the return to childhood and humanity's illegible destiny shot between his house and the shores of Lake Geneva jointly with the young Canadian Xavier Dolan a symbolic award he obviously did not come to pick up An eight-minute video letter addressed to Gilles Jacob and Thierry Frémaux from his native land and in a voice more broken than ever before: "Yes This did not prevent him from being back in the official competition four years later with Le livre d'image (The Image Book a montage film closed in on itself where he returned to the themes of reflection and Godardian digression (war art) with a maelstrom of images borrowed from cinema the film opens itself up only to those who consent to surrender to it Godard's voice and words resembled those of God on Mount Sinai addressed to the last Moses of the dark rooms capable of transmitting his word people waited for Godard in Cannes and once again the expectations of the cinephile crowd were disappointed It was an idiosyncratic way of managing his presence through his absence but it did benefit from occasional screenings in good company like at the Théâtre des Amandiers in Nanterre in October 1999 This ultimate contradiction crowned a thought process that was continually fed by contradiction Between the fervent defender of a popular and minor cinema and the artist who rallied to the elitism of high culture between the right-wing dandy and the boiling leftist between the herald of auteur cinema and the filmmaker who condemned bourgeois auteurism between the man who considered himself a Jew of cinema and the one who created collages between Golda Meir and Adolf Hitler to which of these Godards should we devote ourselves Perhaps to the one in the photograph opening JLG/JLG: Godard as a child resembling Kafka as described by the adult he had become: "I was already in mourning for myself During the burning last embers of his life the filmmaker dreamed of himself as a man without ancestry or descendants: the son of his creations Godard said that he would simultaneously film both its testament and his own Is this to say that cinema has died with Jean-Luc Godard If it finds poetry in the Histoire(s) du cinéma the first line had already been written as early as A bout de souffle whose novelty has long obscured its cruel endgame as much regarding its plot (death of the betrayed hero) as regarding cinema's (farewell to classical cinema) this never prevented Godard from being the most alive of filmmakers 1952 First article for film magazine Les Cahiers du cinéma 1965 Pierrot le fou ("Pierrot the madman") 1972 Tout va bien ("Everything is going good") 1980 Sauve qui peut (la vie) (Every Man for Himself) 2014 Adieu au Langage (Goodbye to Language) Jacques Mandelbaum Nous vous conseillons de modifier votre mot de passe merci de contacter notre service commercial Perhaps with the fact that he is almost universally acknowledged for being responsible for the most visually influential work in the history of cinema As a founding member of La Nouvelle Vague (the French New Wave) Godard was the intellectual enfant terrible of cinema; an inventor over productive and experimental to the extreme His cinematic collaborations with Anna Karina are still points of reference within the film and fashion industries (Martin Scorsese and Quentin Tarantino have referenced Godard’s work His spontaneous and sometimes chaotically organic approach was widely admired but annoyed others (Ingmar Bergman was starkly against Godard's “self-obsessed” cinema we look back at five of his greatest films Godard’s first feature-length film follows a pixie-faced Jean Seberg and criminal Jean-Paul Belmondo on their journey to self-fulfillment Belmondo’s look became the most coveted in men’s fashion during the 1960s Seberg’s slim trousers and white shirt paired with ballet flats waved goodbye to Dior’s New Look and gave us instead the garconne; a new feminine ideal The pair looked remarkably cool together strolling up and down the Champs-Elysées complete with American accents and boyish cockiness With Anna Karina and Jean-Paul Belmondo as a murdering couple on the run Godard created some of the most vibrant compositions: blues Beneath the startling editing lies a philosophical element that provides the visual framework of the movie When Marianne and Ferdinand reach the last leg of their escape The island Porquerolles turns into the third person Pierre’s blue-painted face becomes one with the sky and the sea the Mediterranean devours its figures in a fantastic but tragic manner – Eternity … it is the ocean and the sun.” In awe of architecture and awareness of space Le Mépris is a film about making a film and all the strains that go with it At times evoking the look of a Bauhaus poster the film was partly shot in Casa Malaparte in Capri one of the most renowned examples of modern Italian architecture None other than Fritz Lang stars (and speaks!) in this story admiring the gods while profane marriage issues take place blonde hair and striped top could have been illustrated by Malika Favre so graphic is almost every aspect of the film Godard had to include Bardot’s nudity for the film to become a more commercial success in the States delivering us the lines of her silhouette rather than her actual body The film which Tarantino named his production company after is true to Godard’s motto: “All you need for a film is a gun and a girl.” And Paris Godard's most playful and charming film is perhaps his most accessible one Our gangster triangle does everything but the heist they’re planning to do drive around in their convertible car … accompanied by the dreamy sounds of Michel Legrand Tarantino said of Bande à part that it was the one film that showed him that you could have fun as a filmmaker and play with the medium thus recreating the Godardian narrative: “A story should have a beginning Vivre sa vie tells the story of aspiring actress Nana who ends up working as a prostitute and gets meddled into dangerous business Godard gives us an instruction manual in the form of an actual typographic list and off-voice narrator on how to be a full-time prostitute and what you should consider Nana’s helplessness cannot be masked by her pathetic attempts at being shrewd or slightly in charge of her own situation Her black bob hairstyle appears as a homage in Le Mépris when Bardot pops it on in a moment of self-reflection A great A/V transfer and outstanding critic commentary make Kino’s disc an essential purchase for fans of Jean-Luc Godard Though made just before Jean-Luc Godard entered his polemical Dziga Vertov Group phase Le Gai Savoir is arguably his most austere film It rolls out on the thrum of an electronic warble that washes over all other sound and is befitting of the pitch-black void in which the actors recite snatches of dialogue at each other Émile (Jean-Pierre Léaud) and Patricia (Juliet Berto) presented as descendants of philosopher Jean-Jacques Rousseau and Congolese Prime Minister Patrice Lumumba The film’s stark compositions and empty backgrounds ensure that there’s no distraction from the pair’s intellectual discourse Le Gai Savoir’s radically restricted frame speaks to a desire by Godard to “return to zero,” to strip cinema of its bourgeois formalism in an attempt to make the art form match the fervor of political engagement among young pople at the time The filmmaker toys with the notion of destroying to rebuild frequently intercutting montages of a makeshift alphabet book with letters corresponding to images and words with political contexts some of the terms are more abstract and evocative such as S standing for “son,” the French word for “his,” a broad possessive that holds major importance in the larger communist and socialist debates around private property versus collectivization The film stridently flouts its political beliefs but not without a certain sense of humor Émile and Patricia regularly enact dialogue in a call-and-response format that reinforces each person’s thoughts but also slyly suggests a copycat mentality of young radicals merely regurgitating polemics instead of internalizing them the film around them openly posits words as an “enemy” of truly revolutionary thought the further they get from any sense of understanding instead getting caught up in the innumerable contradictions inherent to any conception of a sociopolitical system completely divested from current institutions and socialization Godard’s use of montage up to this point in his career had resembled the run-on thoughts of a prodigy incapable of finishing one sentence before leaping to the next thing on his mind The playfulness of his editing is still evident here though flecked with a greater sense of ambition one devoted not merely to capturing the frantic speed of Godard’s own mind but of a larger ethical and political engagement of cinema and society With its blacked-out soundstage and frequent reliance on still photographs and TV broadcasts but Kino Lorber’s disc nonetheless calls attention to its subtle beauty The black levels of the backgrounds remain stable throughout while the colors on the actors’ clothing pop under the bright key lighting The audio is consistently clean save for the frequent moments where Jean-Luc Godard inserts shrieking noise from tape manipulation or archival speeches instant crescendos of these moments are captured in all their blistering intensity critic Adrian Martin provides a wealth of background detail pertaining to Godard’s cryptic highly personalized set of references and in-jokes including all those insulted and denounced throughout this work of rigorous self-criticism Martin even clarifies the jolting moments of beeped-out sound as Godard’s pithy response to the censoring of his script’s more libelous statements Martin offers many interpretations of moments and overall threads in Le Gai Savoir but he also offers more puzzle pieces for viewers to consider when analyzing the film The commentary feels like a university lecture in the best way possible grounding information while inspiring independent thought The disc also comes with a short video from cinematographer Fabrice Aragno, who shot Godard’s Film Socialisme and Goodbye to Language The video re-edits Le Gai Savoir into a series of superimpositions making the film seem like one of Godard’s more recent A booklet contains essays from singer Richard Hell and critic Adam Nayman that each dig into the host of classical and contemporary references that inform the film as well as the aesthetic and philosophical continuity within Godard’s work to this point and for the remainder of his career Jean-Luc Godard’s film is ground zero for his post-1967 oeuvre and a great A/V transfer and outstanding critic commentary make Kino’s disc an essential purchase for fans of the filmmaker Jake Cole is an Atlanta-based film critic whose work has appeared in MTV News and Little White Lies He is a member of the Atlanta Film Critics Circle and the Online Film Critics Society "a94a04434a861fdc1d7fd642595a4b5a" );document.getElementById("facec42938").setAttribute( "id" a  pris la défense de Pascal Vincent sur les ondes du 98,5 FM Dubois fils a souvent été perçu comme une véritable princesse à Winnipeg et Vincent n'a jamais vraiment réussi à exercer un contrôle sur lui « C'est un gars qui a appris avec Paul Maurice comme assistant avec les Jets de Winnipeg il est redescendu dans la Ligue américaine pour être en chef et ensuite remonter dans la Ligue nationale Il sait vraiment ce qu'un jeune doit améliorer dans son jeu pour éventuellement aboutir dans la Ligue nationale C'est un gars qui a un message très clair auprès de ses joueurs On parle quand même du père de Pierre-Luc Dubois Depuis le départ de Dubois des Jets de Winnipeg l'équipe a connu une métamorphose spectaculaire et ce n'est pas pour rien Le départ de Dubois vers les Kings de Los Angeles en échange de Iafallo Kupari et un choix de deuxième ronde en 2024 est devenu un tournant positif historique pour les Jets Il ne faut pas ignorer la controverse qui a entouré le départ de l'attaquant québécois Les critiques fusaient de partout à Winnipeg à l'égard de Pierre-Luc Dubois qualifié de "bébé gâté" dont la présence aurait nui à l'atmosphère de l'équipe Dubois était perçu comme une diva exigeant des conditions spéciales pour son utilisation sur la glace à Winnipeg et Vincent avait anticipé ces problèmes en déclarant que Dubois agissait comme un "grand bébé" depuis son entrée dans la ligue et que les entraîneurs à Winnipeg mangeaint dans sa main Dubois est considéré comme le joueur les plus toxiques de la ligue ayant laissé derrière lui une réputation controversée semblent s'épanouir sans la présence de cette "diva" au sein de leur effectif consolidant ainsi la thèse selon laquelle le départ de Dubois a été une décision nécessaire pour le bien-être de l'équipe car les entraîneurs n'étaient pas capables de le gérer Le père de Pierre-Luc Dubois a voulu prendre la défense du nouveau coach du Rocket de Laval...mais a amplifié le malaise.. the Le Luc Pinot Noir from Restless River in Hemel-en-Aarde has arguably been a little underdone but the soon-to-be-released 2019 vintage is magical Grapes from a single vineyard of sandstone on clay winemaking involved 30% whole-bunch fermentation before maturation lasting some 14 months in 500-litre barrels The nose is very expressive with notes of dark cherry musk and spice while the palate has great fruit purity and tannin structure – it’s full and concentrated but still wonderfully energetic and possesses proper detail Lovely fruit purity and freshness to go with crunchy tannins Check out our South African wine ratings database Attention: Reviews like this take time and effort to create. We need your support to make our work possible. To make a financial contribution, click here Invoice available upon request – contact info@winemag.co.za Please read our Comments Policy here and the cellar has been enlarged at Restless River in Upper Hemel-en-Aarde Valley Craig and Anne Wessels have been farming here for some 20 years,.. Craig and Anne Wessels have been on their Upper Hemel-en-Aarde Valley farm Restless River just short of 20 years – “a fairly significant chunk of time” as Craig puts it... Δdocument.getElementById( "ak_js_2" ).setAttribute( "value" Subscribers receive daily reviews and in-depth reports before release to the public SUBSCRIBE NOW Print Jean-Luc Godard made his second feature film but it was banned until 1963 because of its tough look at the then-current French-Algerian conflict and unblinking portrayal of torture Opening Friday at the Nuart in a new 35-millimeter print with fresh translation and subtitles the often-overlooked film provides a lens through which to view the French director’s unparalleled streak of provocation and productivity in the 1960s as well as a startlingly contemporary-feeling counterpoint to recent politically tinged war films such as “Zero Dark Thirty.” “The film should bear witness to the period,” Godard said in an interview with the publication Cahiers du Cinéma in 1962 PHOTOS: Behind-the-scenes Classic Hollywood The film — the title translates as “The Little Soldier” — follows a French army deserter turned photojournalist and political operative named Bruno Forestier (Michel Subor) in Geneva as he meets a young woman Caught between agents working for both French and Algerian forces he finds himself ensnared in a plot to assassinate an anti-French activist dunked in a bathtub and has his head covered in a shirt that is doused with water Then he is given a series of electric shocks He escapes and tries to make his way back to Veronica The sequence is markedly different from the recently controversial portrayal of torture and interrogation in “Zero Dark Thirty.” Richard Brody who chronicled the making of “Le Petit Soldat” in his 2008 biography of Godard “Everything Is Cinema,” recently wrote for the New Yorker: “There’s more breadth and depth — more of a sense of history at large of the intrinsic and profound horror of the practice and the experience of torture and of the moral issues involved in political action — in that thirteen-minute sequence than in the whole of ‘Zero Dark Thirty.’” The film also marks the first appearance of Karina in a Godard movie; the actress would become his wife in 1961 Their electrifying connection and stormy off-screen relationship would play out across numerous films from playful romance to hurtful recriminations to mournful regret PHOTOS: Hollywood Backlot moments In “Le Petit Soldat,” it is easy to feel Godard’s attention and affection being drawn to Karina; he not yet 30 and she not quite 20 frequently mentioned as a style inspiration and crush object By the time they made their last film together This new release should earn back “Le Petit Soldat” its rightful place as an early but fully formed work in Godard’s staggering jumble of a filmography intertwining broader social and historical issues with personal specifics “Le Petit Soldat” is both immediate and circumspect belonging to no party,” Godard said at the time “And what concerned me was the problem of war and its moral repercussions So I showed a man who poses himself a lot of problems mark.olsen@latimes.com Mark Olsen writes about all kinds of movies for the Los Angeles Times as both a feature writer and reviewer. Entertainment & Arts Hollywood Inc. Movies Subscribe for unlimited accessSite Map This year’s must-see shows range from a Nordic Pavilion exploring transgender spaces to a compelling Lebanese project confronting the realities of ecocide Frieze returns to The Shed in May with more than 65 of the world’s leading contemporary art galleries and the acclaimed Focus section led by Lumi Tan sheds new light on the filmmaker’s masterpiece and its appearance in pop culture and the arts ‘Can you see my behind in the mirror?’ Camille asks her husband in the opening scene of Le Mépris (Contempt Jean-Luc Godard’s revision of The Odyssey as a 20th-century tale of luxury and marital malaise Soon their relationship will unravel against a backdrop of modern Italian architecture and the Tyrrhenian Sea Reflections of Camille are everywhere in ‘Amie Siegel: Backstory’ at Thomas Dane Gallery an exhibition that traces the precursors and duplicates of Le Mépris in pop culture At the centre of the show is Genealogies (2016) a documentary-style video that takes viewers on a contextual deep-dive elucidating her status as an object of amour fou Siegel explains that Le Mépris is based upon Alberto Moravia’s novel Il disprezzo (A Ghost at Noon a precursor to the beautiful and tragic Camille influenced by Wilhelm Jensen’s Gradiva (1902) a novella about an archaeologist who becomes obsessed with a Roman bas-relief of a woman If this chain of erotic phantasms is beginning to sound Freudian that’s because it is: Jensen’s use of archaeology as an analogy for buried desire inspired Sigmund Freud’s essay ‘Delusion and Dream in Jensen’s Gradiva’ (1907) as Siegel rises from the depths of psychoanalytic costume drama and emerges at an advert for Hugo Boss the fashion house reproduced a scene of Camille sunbathing on a terrace overlooking the sea at Capri shortly before she tells her husband she no longer loves him a detective novel is spread across her buttocks the symbolism attached to the female body shifting from crime scene to luxury vessel in which women feature as collectible ruins Two additional works on show further indicate Camille’s perverse unreality The walls of the gallery’s first room are lined with Body Scripts (2015) a series of framed pages from Il disprezzo Siegel has selected passages in which the female protagonist is described by her husband obscuring the remaining text with blocks of aquamarine paint – ‘the average colour’ of the Tyrrhenian Sea ‘I leant forward and took hold of her almost violently by the hair and tried to bend her head back to kiss her,’ reads a line on page 32 In the final room is the video installation The Noon Complex (2016) Projected onto the walls are scenes from Le Mépris from which Camille has been digitally removed A flatscreen monitor on the floor plays a video of an actress in a gallery replicating the movements of Godard’s missing female lead As the camera lingers over an empty sofa and a sun-drenched terrace the surrogate sits upon a plinth and stretches out upon an empty floor Siegel locates Camille somewhere between her absence and reproduction when she asks if he can see her body in the mirror at the beginning of the film Amie Siegel, 'Backstory' runs at Thomas Dane Gallery Main image: Amie Siegel, Genealogies (detail), 2016,  HD video Her novel Sinkhole: Three Crimes is out with Montez Press the writer examines how the rhetorical strategies once championed by the cultural left have become tools for the political right A new play by Gillian Solvo highlights the lives of those who survived the devastating fire live events and new shows across the city 31 May–2 June in the annual celebration of creative community  How one London non-profit is cornering the crowded market in presents for the art-lover; plus a gift guide for the creatively curious worldwide How the artist's development is shaped by his family and local community galleries and gallerists who have been part of Frieze London since day one in 2003 talk about London the art world and their approach to showing work Florence Platarets’s new documentary on the late auteur inadvertently asks whether Cannes Film Festival has lost its taste for radical politics reaffirms the Malagasy artist as the star of the show From Celeste Rapone's evocation of not-so-blissful domesticity at Josh Lilley to Leo Robinson’s dense webs of allusion and appropriation at Chapter Jemisin to the final essays of Janet Malcolm members of the frieze team select the books they’re most excited about this season This year’s edition focuses on historical relations of resistance and liberation which survive beyond the archive the artist’s readymade sculptures prompt a strange empathy between viewer and object A new book by Ian Penman grapples with the filmmaker’s gargantuan appetites impossible productivity and heartbreaking melancholy is stripped down to its bare bones to reveal the play’s central spirit © FRIEZE 2025 Cookie Settings | Do Not Sell My Personal Information The prison doctor confirmed suicide after an overdose of tranquillizers Nikita: [looking at pictures of her funeral] Titi.. Bob: I work Nikita: What do I do Bob: Learn Nikita: What for Bob: To serve your country Nikita: What if I don't want to Bob: Row 8, Plot 30. The transfer on this release is as tight as 25-year-old French ass wearing a new pantyless girdle Both Ferdinand and Marianne ultimately fail to better themselves romantically, intellectually, politically, or philosophically, and it’s one of Pierrot le Fou’s unique charms—and one reason why the film stands out as a particularly beloved entry among those who adore the French New Wave—that Godard doesn’t regard their situation with emphatic mockery or inordinate reverence. (It’s worth mentioning that his next film, Masculin Féminin Previously available in Region 1 in what has to rate among the worst video transfers in all great cinema Pierrot le Fou comes fresh-faced thanks to Criterion The colors are so saturated and the image so clean of debris and the focus so sharp it would put this year’s Super Bowl ads to shame If and when Criterion ever decides to make the leap over into HD this should be one of their charter efforts The sound is also a step or two above what I’m used to for films older than Dolby Were it not for the 50-minute documentary about Godard’s films made in collaboration with his wife Karina I’m almost sure the extra features in this set could’ve been squeezed onto one disc so anyone with a hard-on for Karina (old version or young) will probably be the most appreciative of Criterion’s work Jean-Pierre Gorin’s analysis of pre-him Godard makes one wonder why his work in collaboration with Godard was so alienating The transfer on Criterion’s new release of Pierrot le Fou is as tight as 25-year-old French ass wearing a new pantyless girdle "a7295bfb733fcc249085c8ba95f8d279" );document.getElementById("facec42938").setAttribute( "id" The Doctor: [whispering] Bon.. The Man: [whispering] Bon... jour... It has a reputation as one of Godard’s key works but there is an argument that it has not aged well its uningratiating deconstructions of cinema and sex make for a fierce watch is one of Jean-Luc Godard’s most talked-about movies has dated and curdled in a way that his other pictures from the 60s haven’t and even for the commerce underlying modern cinema a film whose deconstructive gaze is turned on itself especially on the mechanics of sexual allure – as in Bardot’s famous speech Le Mépris (Contempt) is released on 2 June in UK cinemas but Pierrot le Fou‘s irresistible charm never fails to hit the viewer like a breath of fresh air It is extremely difficult to pigeonhole a film like this into a restrictive genre because Godard works so hard to reject those categorisations creating a work of art that transcends the realm of language Although Godard initially wanted to cast Richard Burton he asked his Breathless star Jean-Paul Belmondo to be our iconic protagonist Ferdinand A man who is stifled by the societal structures that bind him Ferdinand mostly speaks in quotations from famous novels and borrowed ideas We see him indulging in this from the opening scene itself where he reads to his little daughter about the Spanish painter Diego Velázquez “The world he lived in was a sad one: a degenerate king clownish freaks dressed as princes whose job it was to laugh at themselves…” This prescient commentary doesn’t just mark the beginning of the film but also Ferdinand’s descent into Velázquez’s mad world he tries to understand the world around him by examining the colours and images that fill it only to find himself oscillating between symbols of life and death Recently unemployed and stuck in an unhappy marriage Ferdinand is persuaded by his wife to go to a party thrown by her parents where her father has promised to introduce Ferdinand to the director of Standard Oil Godard applies tints of primary colours to most of the shots from the listless party in order to paint a layer of ambiguity over the process of signification itself Ferdinand is not interested in the self-absorbed discussions about hair and perfume gravitating towards American filmmaker Samuel Fuller who is also a guest at the party He is the one person who Ferdinand wants to have a conversation with but he can only communicate with Fuller through an intermediary translator He asks the director about the definition of cinema to which Fuller responds: “A film is like a battleground Tired of the pointless conversations, Ferdinand decides to drive back home while fireworks light up the sky. He makes up his mind to abruptly run away with the babysitter/former lover Marianne – wonderfully portrayed by Anna Karina Perhaps one of the most interesting scenes in the film Ferdinand drives Marianne home but gets lost in his own repressed desires and fantasies along the way The camera never shows the spatial movement of the car but we know it’s a moment of transition and unprecedented change as coloured lights whiz past them engaged in a volatile dance of dangerous dynamism Ferdinand escapes from his bourgeois life with Marianne who says: “That’s what makes me sad: life is so different from books Pierrot le Fou launches a scathing attack on this idealistic desire to confine a narrative within the structures of logic and order Ferdinand tries to divide the last days of his life into definite chapters the distinctions between the chapters become incoherent Everything is identified by feelings instead of numbers Godard’s bold experimentations with the cinematic medium prove that literature and cinema are separate forms of art and hence Pierrot le Fou is a desperate quest for liberation from the human condition and the methods used by the avant-garde director explore the possibilities of the cinematic medium once it is liberated from the tyrannical rules that govern it Godard continuously breaks narrative continuity to endorse his own brand of storytelling We see a neglected corpse in Marianne’s apartment surrounded by guns only to be presented with the events later We see Marianne driving the car only to be shown that Ferdinand is suddenly in the driver’s seat The narrator’s commentary consists of Ferdinand and Marianne continuing each other’s sentences atomic parts that do not pretend to be whole and insist on making the viewer realise that these fragments can never come together again Godard embraces postmodern self-reflexivity by referring to other works of fiction by Joyce and Proust mentioning Balzac and conducting a reading of Louis-Ferdinand Céline partially revealing a poster of Le petit soldat and interrupting a documentary on the Vietnam war with a clip of Breathless star Jean Seberg from her 1964 work Le grand escroc Pierrot le Fou becomes a site of transgressive metafiction a film where extras admit that they are extras and the protagonist claims that he is talking to the audience Logic is constantly undermined by Ferdinand who has no patience when it comes to laying out elaborate motives for the actions of his characters and an end… but not necessarily in that order,” the director once said but he goes one step further in Pierrot le Fou There is one scene where the two lovers stage a car accident near an already-existing car wreck under an incomplete overpass The structure is right beside the main road only a middle which completely demolishes any traditional attempts at subjecting the events on-screen to a teleological analysis This one symbol/image of a mysteriously incomplete and useless overpass with a casual explosion on one side of it is probably the most appropriate representation of Pierrot le Fou‘s chaotic energy: incomprehensibly alluring Godard’s contempt for American culture and a simultaneous passion for American film noirs are on full display here fast cars and cash aren’t enough to convince Ferdinand to succumb to the demands of the genre He retreats to an island where he spends all his money on books and lives a Robinson Crusoe-like existence writing a novel and pretending that Marianne is “[his] girl Friday” Godard saves the philosophical references for the dialogues and colours every shot like it’s from a comic book shades that denote the conflict in Ferdinand’s destabilised psyche Although they con American sailors out of their money by participating in stereotypical caricatures of Americans (Ferdinand keeps saying yeah!”) and the Vietnamese (Marianne paints her face “yellow”) it isn’t enough to convince Marianne to put up with this ascetic life It’s a life where she is constantly surrounded by a self-indulgent Ferdinand a pet parrot and books that she cannot tolerate Godard cheekily makes Anna Karina quote Tolstoy’s Anna Karenina when she tells Ferdinand: “You speak to me in words This is also one of the central themes of Pierrot le Fou: an inherent disconnect between the characters who are supposed to be in love but who cannot understand each other Ferdinand says that he sees an image of Marianne as well failing to figure out who she really is and She keeps calling Ferdinand by the name of Pierrot “I’ve got a mechanism for seeing called eyes But they feel disconnected,” Ferdinand had said earlier Ferdinand’s identity keeps transitioning: from the “degenerate king” to a “clownish freak” He is tortured (an almost identical scene in Le petit soldat) and harassed because of her She sails off with the money she made him steal and he is left wondering how he managed to plummet to his own demise Dreaming of a world where he gets to shoot Marianne and her lover Ferdinand paints his face blue like a clown and wraps dynamite around his head We see a beautiful explosion on the cliff where Ferdinand blows himself up as the camera pans to the limitless ocean: the elemental duality of a violent life and a peaceful death After Adrien Quatennens admitted to acts of violence against his wife the reaction of La France Insoumise's leader laid bare the party's shortcomings on domestic violence Published on September 19, 2022, at 6:52 pm (Paris), updated on September 27, 2022, at 12:19 pm 3 min read Lire en français It's a crisis La France Insoumise (LFI) could have done without. On Sunday, September 18, Adrien Quatennens, stepped down as "coordinator" of Jean-Luc Mélenchon's left-wing party The decision taken in coordination with LFI comes four days after an article in weekly newspaper Le Canard enchaîné which leaked a police report filed by his wife Céline Quatennens in the context of a difficult separation "in the interests of transparency and reconciliation," that acts of violence had occurred My affection for him does not mean I am indifferent to Celine But I'll say this: A slap is unacceptable in any case Mélenchon's first tweet clearly shows all of LFI's shortcomings as a party its reflex has been to accuse the media and the ruling powers at least of sharing an interest in bringing down LFI This was the case recently before the trial of Mr Mélenchon and several LFI executives after the turbulent searches at the party's headquarters in October 2018 Mélenchon and his supporters advanced the theory of "lawfare," namely: the instrumentalization of justice by the powers that be against opponents taking advantage of a triangular alliance between the justiciary Mélenchon has pointed to "police malice" (Adrien Quatennens' wife's leaked complaint) "media voyeurism" (its coverage in the press) and "social networks" (which have widely commented on the Canard's article) This strategy has one advantage: tightening the ranks around the movement when times get tough most of LFI's party members had similar reactions to that of Mr But it is also has a serious pitfall: a form of binary thinking where the "us" is seen as perpetually under attack from a malevolent "them." The consequence is the perception that the problem is not the acts of violence themselves – which Mr Quatennens himself has admitted to – but rather their public disclosure There is another limit to this binary approach: the absolute need to defend "comrades" against external attacks for his "courage" and his "dignity." He is an esteemed figure among the activist base and leaders and is an essential cog in the Mélenchonist machine Mélenchon's protégés and one of the few names thrown into the hat as successors for the former presidential candidate Bouhafs criticized La France Insoumise for "the absence of a fair and equitable procedure" and for not clearly stating the accusations with which he was accused who was the target of an investigation by the Paris prosecutor's office at the beginning of July for sexual harassment and assault – charges that the MP from Seine-Saint-Denis Mélenchon had even expressed his "complete solidarity" and had considered that the investigation was a "petty retaliation" against the president of the new Finance Committee at the Assemblée Nationale "intended to smear him without cause." An argument that is in every way equal to the one used to defend Mr Abel Mestre abounds in a wide variety of artistic references It has love… hate… action… violence… death… in one word that is what Samuel Fuller famously declares early on in Pierrot le Fou as his definition of cinema But while Jean-Luc Godard’s 1965 feature certainly has those first five components contained within its wildly free-form structure but those emotions are deconstructed and examined to the point that standard reactions to such moments no longer apply How you are supposed to feel about the plot and the characters in the film remains frustratingly elusive—and perhaps Pierrot le Fou is quite possibly the “movie-about-movies” par excellence because by the end of it those moments of love violence and death don’t matter so much as one’s own unsettled awareness of just how familiar and concrete movie emotions—especially those within the kinds of genre films often adored by Godard and his Cahiers du cinéma peers—often seem compared to the messier and more complex emotions one encounters in real life the heart of this seminal Godard work lies not so much in its “last romantic couple,” not in Raoul Coutard’s eye-popping color cinematography (capturing both privilege and freedom in lush comic-book colors) not even in its many plot twists and tonal and genre shifts All of these are certainly important to the film’s being but its real heart and soul lies in its middle section: that lengthy passage set at the edge of civilization as Ferdinand (Jean-Paul Belmondo)—now liberated from the alienating clutches of his privileged life—strives to live out his dream of intellectual freedom while the less introspectively inclined Marianne (Anna Karina) yearns to “go back to our detective novel with fast cars and guns and nightclubs.” This passage is perhaps the most personal and resonant in Pierrot le Fou: no longer shackled by the chains of narrative and genre expectations (which of course Godard tries to undermine in his usual postmodern way) is free to give full rein to all the philosophical and political inquiries that are weighing on him but one work that he doesn’t reference explicitly is Friedrich Nietzsche’s The Birth of Tragedy in which the controversial 19th-century German philosopher famously suggested that art—Greek tragedy and music an intertwining of Apollo and Dionysus: the former signifying “plastic” truth the latter representing intoxication and madness was a juncture between those two poles—the Apollonian supported by the Dionysian or (to risk oversimplifying Nietzsche’s argument) intellectual awareness propped up by emotion and feeling We buy into the artistic illusion because the Dionysian elements rope us into accepting and becoming lost in it In Nietzsche’s own words (from the Francis Golffing translation): “At the point that matters most the Apollonian illusion has been broken through and destroyed having all its movements and characters illumined from within by the aid of music—as though we witnessed the coming and going of the shuttle as it weaves the tissue—this drama achieves a total effect quite beyond the scope of any Apollonian artifice In the final effect of tragedy the Dionysiac element triumphs once again: its closing sounds are such as were never heard in the Apollonian realm The Apollonian illusion reveals its identity as the veil thrown over the Dionysiac meanings for the duration of the play and yet the illusion is so potent that at its close the Apollonian drama is projected into a sphere where it begins to speak with Dionysiac wisdom thereby denying itself and its Apollonian concreteness The difficult relations between the two elements in tragedy may be symbolized by a fraternal union between the two deities: Dionysus speaks the language of Apollo the language of Dionysus; thereby the highest goal of tragedy and of art in general is reached.” Godard hasn’t been connected much with Nietzsche Even when his films—specifically his early-’60s works—still relied somewhat on story and character Godard was rarely interested in maintaining any kind of façade: he was more often than not tearing down the fourth wall reminding us of the precariousness of the cinematic artifice and analyzing the mechanisms underneath (fiddling around with the soundtrack jolting us from classical Hollywood complacency with “shocking” jump cuts carrying on elements of the German playwright’s “epic theatre” tradition attempted to bring the spectator closer to a drama’s content without the distraction of emotional involvement—in a way balance intellectual provocation with feeling and vitality the depth of feeling bridging the emotional distance of Contempt the effervescence underlying the musical-comedy genre analysis of A Woman is a Woman or the fondness for his low-down characters in Band of Outsiders represented a turning point in Godard’s artistic development Looking at it in the context of the films that came before and after it one that summarizes his thematic and sensual fascinations while anticipating the more distinctly Brechtian cinematic essays that would populate his late-’60s output when characters didn’t matter so much to him as political ideas and detached examination of youth The Hollywood genres he loved so much could no longer contain his intellectual enthusiasms and Pierrot le Fou burst the boundaries completely—filled to the gills with B-movie thriller conventions and eye-popping primary colors—in an attempt to reinvigorate his own energy for filmmaking and point the way toward future But Pierrot le Fou isn’t just a sensual celebration of one movie-obsessed director giving free rein to all of his impulses Ever the questioning and engaged cinephile Godard applies a distanced contemplation of that aforementioned Nietzschean artistic dichotomy of intellect and emotion This clash between two human extremes of feeling goes all the way down to its form and style: there is a method to his surface madness he accomplishes this as he has almost always done: he takes an interested but cool attitude toward his characters while indulging in his own passions for Pop Art imagery; film literary and artistic references; and dexterous genre and formal play—with the effect that all those Hollywood-inspired genre elements are defamiliarized representing the two sides of the Nietzschean coin They both escape from the endless drone of bourgeois existence epitomized by a party scene in which most of the partygoers speak in the language of magazine ads (“To combat underarm perspiration,” says one woman without a trace of irony “I use Printil after my bath for all-day protection”) once they drive their car into the Mediterranean Sea and Ferdinand decides to start a new life—one in which he can read and concentrate on his own artistic development—a rift between the two develops this kind of Jules Verne-like existence represents the height of freedom; for Marianne his secluded-artist lifestyle is just as stifling as her previous life back in Paris Marianne is the one who acts on her emotional impulses: she breaks out into song and dance at two memorably random moments; she instigates the rekindling of their love affair (when she passionately says “I’m putting my hand on your knee,” Ferdinand disinterestedly responds “Me too Marianne”); she’s the one who would rather listen to the latest pop single instead of reading (“Music after literature,” Ferdinand implores) while he’s all hardcore intellectualism—she’s Dionysus The scene that best summarizes this contradiction begins with Marianne walking along the Mediterranean shore is reading while soaking in the sun (with a parrot on his lap) When he asks Marianne why she looks so sad and I look at you in feelings.” When they both try to have a real conversation they name things that immediately come to their mind Marianne comes up with “flowers… animals… the blue of the sky… music… I don’t know “ambition… hope… the way things move… accidents… What else but through totally antithetical perspectives—one attuned to the sensual beauties of the world the other approaching it from an abstracted This entire middle section—which mixes in such philosophical ruminations with anti-American (read: anti-Vietnam) political commentary documentary-style interviews and loads of primal nature images—represents the fulcrum of the film because not only does it detail the developing rift between the two characters Once Ferdinand gets dragged back into Marianne’s “detective novel” in the film’s final third piling on plot twist after plot twist past the point that they actually matter to the characters there are moments of playful Godardian digression here and there—a piece of pop philosophy from Marianne explaining why truly knows one another; and of course the comic monologue from French humorist Raymond Devos about the piece of music he keeps hearing that leads him to romantic misadventures marriage and some kind of psychosis—but such moments appropriately become few and far between.) and seeing his intellectual Utopia permanently dashed decides to give himself an absurd “glorious death” by painting his face blue and wrapping dynamite around his head—all that is left is as exemplified by a slow pan right to the enveloping blue sky and the shiny ocean underneath after Ferdinand explodes in the distance Ferdinand and Marianne are still carrying on their Apollonian/Dionysian dispute: Marianne sees the poetry in Godard’s image The argument between sensuality and intellectualism continues beyond the final frames of Pierrot le Fou I submit—even more than its still-dazzling embrace of everything cinematic political and intellectual in one arguably overstuffed work—is the source of the film’s continued fascination and relevance today Having caught Pierrot le Fou at its Brooklyn Academy of Music revival last year I can attest that the Criterion Collection’s high-definition digital transfer is as amazingly bright colorful and impeccable as seeing Janus Films’ newly restored print on a big screen—maybe a bit more so since even the print I saw at BAM had its share of flaws little of which I noticed on the DVD when watching it on my widescreen LCD monitor The soundtrack is probably as good as mono soundtracks get; Pierrot le Fou may be large in scale and ambition but it was still a relatively low-budget feature after all All of the significant extras reside on the second disc and while it isn’t the most loaded package of supplements I’ve seen from Criterion there are some interesting things to be found former Dziga Vertov collaborator Jean-Pierre Gorin dissects the film’s first 20 minutes or so making a fascinating case that this introductory section lays out the film’s geography and thematic concerns economically and precisely—classical exposition that isn’t applied to characters as it is to style and theme an interview with Anna Karina—in which she focuses mostly on the experience of making the film making no mention of the supposed rift between her and Godard at the time—and an archival interview with Jean-Paul Belmondo the only other supplement of possible interest is Godard a 50-minute documentary that surveys Godard’s body of work up until Pierrot le Fou it might be worth seeing just to see the soap commercial that first attracted Godard’s eye to the Danish-born French New Wave icon featuring an essay from Richard Brody which suggests that Pierrot le Fou is an impassioned hate letter to Karina that blamed her for interrupting his own dreams of deep artistic exploration Kenji Fujishima is a film and theater critic His writing has also appeared in TheaterMania and In Review Online "ad8af24ffec141ae0dcc7ee7b36fc4f2" );document.getElementById("facec42938").setAttribute( "id" It’s an odalisque to arouse envy in Titian and blue lights successively bathe Brigitte Bardot her co-star and screen husband in Jean-Luc Godard’s Le Mépris (1963 to evaluate her naked body’s flawless components while she inventories them post-coitally – feet In assessing her economic power as a sexual commodity, however, Bardot (playing ex-typist Camille Javal but also herself) doesn’t deliver on it, either through body language or verbal inference. The scene is unerotic. Godard only filmed the star without her clothes because he was pressured to by Joe Levine the Hollywood peplum producer who financed Le Mépris with Carlo Ponti and French New Wave champion Georges de Beauregard half the $1 million budget paying Bardot’s salary.  Godard brutally channelled Levine in the film as the crass belligerent Jeremy Prokosch (Jack Palance) who has hired Piccoli’s playwright Paul Javal to troubleshoot the screenplay of a sword-and-sandal version of The Odyssey that Fritz Lang (playing himself) is turning into an arthouse movie during its shoot at eerily deserted Cinecittà in Rome and at Prokosch’s Casa Malaparte villa on Capri One wonders when Levine realized Godard was making an arthouse movie (albeit an accessible one) that mocks the Hollywood fad of exploitative classical trash Godard closely adapted Le Mépris from Alberto Moravia’s 1954 novel Il Disprezzo but reformulated it as a Homeric allegory (Paul is Odysseus Prokosch is Poseidon and the Suitors) on his and his actress-wife Anna Karina’s ailing marriage The film is also a requiem for Hollywood’s zenith as a factory for masterpieces helmed by Chaplin Tashlin and other giants revered by Godard and his fellow Cahiers du Cinema critics turned New Wave directors Godard’s meditations on these themes are essayistic their cold rationalism evoked through affectless interactions the dissonant mix of classical and modernistic mise-en-scène (as identified by film scholar Adrian Martin) “Cinema substitutes our gaze for a world more in harmony with our desires”) Prokosch’s assistant producer and mistress Francesca Vanini (Giorgia Moll) is charged with translating French German and English for the crew of Prokosch’s international co-pro though Godard supposedly used the language mix as a ruse to control his scathing satire Contemptuous of the producer (“CinemaScope is not for men but snakes and funerals”) the old master Lang is Godard’s charming philosophical mouthpiece But Piccoli – asked by Godard to wear Godard’s tie and the hat that the director wore aping Dean Martin in Some Came Running – is emphatically the onscreen JLG The film’s cinematographer Raoul Coutard said: “I’m positive that [Godard is] trying to explain something to his wife It’s a letter that’s costing [the producers] a million dollars.” The narrative turns on Camille’s escalating contempt for Paul – for seeing him pat Francesca’s bottom for allowing the predatory Prokosch to drive Camille to his Roman villa in his roaring two-seat Alfa Romeo for Paul’s compromising himself artistically Fearing Paul might even be pimping her to the odious money man Camille finally loses faith in the marriage during the uninterrupted half-hour bicker-fest in their Rome apartment when she dons Karina’s Louise Brooks-ish Vivre sa vie wig pesters her so much about her falling out of love with him that it becomes a self-fulfilling prophecy Giorgia Moll)For all of Godard’s anti-sentimentalism and intellectual disdain Observed by statues of Poseidon and Athena Bardot gives her subtlest performance as a woman saddened by the realisation that her husband is buyably weak Georges Delerue’s majestic mournful score (which Martin Scorsese incorporated in Casino) conveys ancientness and inevitability: all sparks will burn out.  “Cinema is an invention without a future” reads one of the slogans The Hollywood auteur cinema lauded by Godard is finally sinking from view in the 2020s with Scorsese among the few holdouts Treasured islands like Le Mépris – restored on 4K and re-released by StudioCanal Blu-ray with a clutch of extras More information about text formats We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d And if you can forward this information to anyone who might assist Thank you for continuing to read our work on theartsdesk.com For unlimited access to every article in its entirety including our archive of more than 15,000 pieces we're asking for £5 per month or £40 per year To take a subscription now simply click here. And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription Get a weekly digest of our critical highlights in your inbox each Thursday Simply enter your email address in the box below View previous newsletters Many key characteristics defined the films from this period improvised dialogue and themes of alienation Alongside Godard, fellow French New Wave directors Francois Truffaut and Agnes Varda were keen to reference and celebrate other classic and contemporary filmmakers. In Truffaut’s debut feature, The 400 Blows Antoine steals a poster of Harriet Andersson in Ingmar Bergman’s Summer with Monika and fellow New Wave director Jacques Demy cameos as a police officer the title character visits her projectionist friend which features Godard and iconic New Wave actress Anna Karina paying homage to silent era stars such as Charlie Chaplin and Buster Keaton poured cinematic considerations into every corner of his work From the Humphrey Bogart references in Breathless to the setting of Contempt – Fritz Lang’s film set starring the man himself – Godard was keen to express his love for cinema at any chance he could get One of the director’s most memorable homages to cinema appeared in his groundbreaking 1965 film Pierrot Le Fou The film stars Jean-Paul Belmondo as an unhappily married man named Ferdinand Pierrot Le Fou is noted for its innovative techniques overt political statements and a vivid primary colour palette reminiscent of pop art One of the catalysts for Ferdinand’s decision to run away is a party Surrounded by people who engage in mindless conversation and spout consumerist statements an avid reader and self-professed philosopher can’t take much more of the lifestyle he is so reluctantly a part of After using a woman to help translate the conversation he learns that he is talking to American director Samuel Fuller Fuller was known for directing low-budget genre films that often fell outside Hollywood’s studio system He influenced French New Wave filmmakers such as Godard who admired his style and ability to create films under restrictive conditions Fuller’s directorial debut was I Shot Jesse James the filmmaker primarily operated in the western and war thriller genre; however he shifted his focus to psychological thrillers and dramas in the following decade Godard honoured Fuller’s influence by including him in the party scene Whereas everyone else talks as though they’re reading the script for an advertisement albeit one that has to be translated bit by bit to Ferdinand Ferdinand tells Fuller: “I’ve always wanted to know exactly what cinema is” This prompts the director to share his opinion in one of the film’s most memorable moments He declares: “Film is like a battleground … Love Fuller went on to cameo in several other films such as Luc Moullet’s Brigitte et Brigitte None of these roles come close to his cameo in Pierrot Le Fou where he not only sums up the plot of the film but defines the greatness of the medium Get our daily recap of Corvette news delivered directly to your inbox Please check your inbox to confirm your subscription CorvetteBlogger.com covers all generations of the Chevrolet Corvette including C8 news Look out for your first newsletter in your inbox soon The best of Time Out straight to your inbox We help you navigate a myriad of possibilities Sign up for our newsletter for the best of the city By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news Sign up for our email to enjoy your city without spending a thing (as well as some options when you’re feeling flush) Our newsletter hand-delivers the best bits to your inbox Sign up to unlock our digital magazines and also receive the latest news By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Worldwide and that’s the rising feeling that Camille (Brigitte Bardot) has for her writer boyfriend Paul (Michel Piccoli) during the time he’s summoned to Rome’s Cinecittà film studios and the stunning island of Capri to help Austrian-born Hollywood director Fritz Lang (playing himself) and coarse American producer Prokosch (Jack Palance) improve their movie version of Homer’s ‘The Odyssey’ Much of the film gives us Camille and Paul’s disintegrating relationship as he’s simultaneously seduced and repelled by the world of filmmaking You feel that same seduction and repulsion in Godard too: why else cast one of your all-time heroes (Lang) but pitch him against a dumb executive Prokosch (who has the brilliant line I bring out my chequebook,’ unwittingly misquoting Joseph Goebbels) We’ve become used to films that knowingly wink at us about the process of filmmaking and play out on the fuzzy borders of the story and its making: think of Charlie Kaufman or Quentin Tarantino’s films Godard remains the modern master of this approach It’s tough to know what’s sincere and what’s not: wry observation and heartfelt emotion are totally entangled it would be wrong to see ‘Le Mépris’ as just a comment on filmmaking It also shows Godard and his collaborators – especially cinematographer Raoul Coutard composer Georges Delerue and editor Agnès Guillemot – at the height of their powers creating scenes and moments of extraordinary visual power Like Camille and Paul’s love-hate relationship it’s the ultimate testament to Godard’s complicated relationship with his art Thanks for subscribing! Look out for your first newsletter in your inbox soon! tiktokfacebooktwitteryoutubeAbout us Contact us Craig and Anne Wessels have been farming here for some 20 years their credentials as one of the country’s most prestigious producers now surely beyond doubt their Chardonnay in particular an industry benchmark Tasting notes and ratings for the new releases as follows: Restless River Ava Marie Chardonnay 2021Matured for 12 months 90% in 500-litre barrels of which 10% were new A later vintage and the nose is a little more exotic than usual with notes of lemon and orange to go with blossom plus hints of oatmeal and flinty reduction The palate is not without depth although alcohol is just 12.7% – pure fruit and zesty acidity the finish possessing a subtle pithy quality Restless River Le Luc Pinot Noir 2021Some 35% fermented whole-berry Matured for 12 months in 228-litre barrels Seductive aromatics of red and black berries tea-leaf and white pepper while the palate has luscious fruit Full of charm and already quite accessible Restless River Main Road & Dignity Cabernet Sauvignon 2020Matured for some 22 months in 225-litre barrels tea leaf and oystershell on the nose – very little herbal character good or bad… Medium bodied and yet not short of fruit weight and structure while the tannins are fine Check out our South African wine ratings database Reviews and Reports are initially reserved for subscribers Get immediate access to exclusive insights and data After a brief presentation of Luis Buñuel's Simon of the Desert Jean-Luc Godard answers Maurice Seveno's questions on the story of Pierrot le fou the painting theme brought up in the film and his provocative side Anna Karina then speaks about her role in the film a former critic at Cahiers du Cinéma magazine born in 1930 released his second film of the year and his tenth feature-length film in seven years with whom he already shot five films including Band of Outsiders and Alphaville in 1964 and 1965 who Godard brought to the masses in 1959's Breathless and who was re-employed Pierrot le fou remains one of the most dazzling films of the French New Wave wonderfully filmed - in coulour - by chief cinematographer Raoul Coutard The agitated response to the film didn't keep it from reaching the status of cult film over the years Godard pursued his career by soon turning to didactic political and anti-commercial cinema before becoming greatly interested in video and in television at the end of the 1970s Pierre-Luc Dubois est un nom qui résonne désormais avec une tout autre dimension au sein de l'univers de la LNH Un lâche millionnaire dans tous les sens du terme Alors que les projecteurs étaient braqués sur lui pour des performances horribles tout au long de l'année une nouvelle révélation a ébranlé le monde du hockey et surtout celui des Kings de Los Angeles L'annonce fracassante du directeur général Rob Blake a eu l'effet d'une claque au visage de tous les fans des Kings Pierre-Luc Dubois vient de s'assurer un 40 millions de dollaes supplémentaire...au minimu,.. on peut voir Dubois comme le "vilain de l'argent" Le lâche millionnaire a non seulement évité le rachat de son contrat au tiers de son salaire estimées à des millions et des millions de dollars l'ampleur du geste de Rob Blake devient saisissante un montant colossal de 40 millions de dollars une somme qui aurait pu s'évaporer dans un rachat de contrat au tiers de son entente Mais grâce à la décision de ne pas racheter son contrat avant son anniversaire de 26 ans il aurait touché plus de 19 millions de dollars sur les 59,5 M$ restants (7 ans à 8,5 M$ par année) Il aurait donc perdu 40 millions de dollars dans un geste qui a suscité la controverse et l'indignation chez les fans "Ce n'est pas la faute de Pierre-Luc Dubois Si les entraîneurs l'avaient incorporé de la bonne façon il aurait livré la marchandise" affirme le DG qui a fait l'erreur de donner autant d'argent à un joueur dont le cordon du coeur trempe dans une substance qui commence par la lettre "M" Accuser les entraîneurs d'être responsables des déboires de Dubois sur la glace a été perçu comme une gifle supplémentaire pour les partisans des Kings Le portrait qui se dessine désormais est celui d'un Dubois qui reste un joueur en quête de son plein potentiel sur la glace mastiquant son protège-dents avec une main sur son bâton avant de regagner le banc après une présence de 40 secondes est devenue l'image qui reste dans la tête de tout le monde à Los Angeles la responsabilité ne lui incomberait pas totalement mais plutôt à son environnement sportif : ses coéquipiers Pierre-Luc Dubois incarne désormais un paradoxe : celui d'être à la fois un millionnaire dans le monde des affaires du hockey mais également un joueur qui peine à trouver sa place sur la glace Une réalité qui illustre à quel point le hockey et les millions font parfois mauvais ménage Dubois se retrouve peut-être au sommet de la pyramide financière Il restera tellement démuni au niveau sportif Auriane Camus © Gary Stevens via Wikimedia CommonsRetour sur nos films préférés du réalisateur franco-suisse qui s'est éteint mardi 13 septembre à l'âge de 91 ans. Des chefs-d'œuvre à mater encore et encore vous avez forcément déjà vu un film de Jean-Luc Godard. Celui qui avait été présenté comme Le Redoutable par Michel Hazanavicius dans son film éponyme est mort ce mardi 13 septembre Bien que le réalisateur franco-suisse ait principalement fait vivre les années 60 dans ses films il aura tout de même marqué des générations entières de cinéphiles. Véritable légende vivante Godard laisse derrière lui plus d’une centaine de réalisations et 60 ans de carrière mais surtout une passion immense pour le cinéma : « Je ne veux parler que de cinéma pourquoi parler d’autre chose ? Avec le cinéma Figure emblématique de la Nouvelle Vague aux côtés de François Truffaut ou encore de Claude Chabrol Jean-Luc Godard a repoussé les limites du septième art. Ses films sont un véritable miroir de leur époque tintés d'un vent de liberté qu’on ne retrouve chez aucun autre réalisateur S'il est difficile de résumer son œuvre en quelques phrases nous vous proposons plutôt d’aller la (re)découvrir de vos propres yeux grâce à cette sélection de nos 5 films préférés de Jean-Luc Godard. À voir et revoir sans fin Il raconte l’histoire de Ferdinand Griffon père de famille désabusé car il vient de perdre son emploi à la télévision. Un soir alors qu'il revient d'une désolante soirée mondaine chez ses beaux-parents il se rend compte que la baby-sitter venue garder ses enfants est une ancienne amie Marianne. Elle l’appelle toujours Pierrot pour le taquiner. Il décide de tout quitter et de partir avec elle vers le sud de la France dans un grand périple où se mêleront trafic d'armes mais aussi pauses bucoliques et déchirements amoureux Pourquoi on l’aime ? Ses chansons et son côté "road movie" qui plaira aussi bien aux amateurs de comédies romantiques qu’aux fans de films de gangsters vole une voiture à Marseille pour se rendre à Paris. Mais en route il tue un policier qui le poursuivait. Arrivé à Paris il retrouve une étudiante américaine Michel essaiera de la persuader de coucher à nouveau avec lui et elle lui résistera un certain temps en affirmant que lui ne l'aime pas vraiment Pourquoi on l’aime ? Le couple qui perce l’écran. Un Bebel superbe en voyou de banlieue et une Jean Seberg sublime et désinvolte Le scénariste Paul Javal mène une vie heureuse avec sa femme Camille. Un jour le célèbre producteur américain Jeremy Prokosch lui propose de travailler à une adaptation de l’Odyssée réalisée par Fritz Lang à Cinecittà. Le couple se rend alors sur les lieux du tournage et rencontre l’équipe. Prokosch fait bientôt des avances à Camille sous les yeux de Paul. Cette tentative de séduction va sonner le glas de leur couple… Pourquoi on l’aime ? Pour la douce évolution des sentiments des deux personnages principaux. De l’incompréhension à la colère vendeuse dans un magasin de disques à Paris mène une vive monotone et joint difficilement les deux bouts. Même si elle éprouve pour lui une certaine tendresse un journaliste raté avec lequel elle a eu un enfant qu'elle a mis en nourrice. Après avoir rompu avec Paul Nana accepte la proposition d'un inconnu. Elle se prostitue pour la première fois et un souteneur. Nana est ainsi prise dans l'engrenage de la prostitution… Pourquoi on l’aime ? Sa vision honnête de la vie dans sa beauté comme dans sa tristesse et les réflexions philosophiques pleines de sens de Nana quartier du faubourg Saint-Denis : Angela belle Danoise travaillant dans une boîte de strip-tease qu'elle aime éperdument. Mais Émile refuse. Alors Angela décide de lui faire croire qu'elle va demander à leur meilleur ami de lui rendre ce service. Sauf qu'Alfred est amoureux d’Angela.. Pourquoi on l’aime ? Un film léger parsemé d’attitudes farfelues et de disputes à coups de livre 8 films et séries à ne pas manquer en mai Un festival de cinéma en plein air gratuit au musée du Louvre  sélection officielle : tout ce qu’il faut savoir sur la 78e édition du Festival de Cannes