Jean-Luc Godard's cinematic oddities First Name: Carmen, Détective, and Hélas pour moi, newly released on Blu-ray from Kino Lorber, embody the vast landscape of possibilities open to the director during the '80s and '90s.
In Piccoli's characters there are always at least two selves—an outer self that strikes out at the world with aplomb and confidence and an inner self that crouches diffidently behind the façade, hoping not to be found out, hoping to get away with the deception.
Starring in a film directed by Jean-Luc Godard is an intimidating prospect (especially when it's in 3D), but not only did Héloise Godet rise to the challenge, she's starting to get rave reviews of her own.
Criterion's splendid edition of Weekend gives insight into the mind of visionary director Jean-Luc Godard, who aimed at nothing less than challenging the dominant social and cinematic paradigms of his time.
On our fourth day, this journey through the 100 Essential Film Directors continues to twist and turn in unexpected ways. From bold, opinionated Hollywood voices to those who essentially created the language of cinema, today will shed light on kings of genre like Samuel Fuller, through lions like the legendary John Huston.
As artists have become less concerned with telling stories and more concerned with creating emotional connections and mimicking experiences, art has shifted from creating beauty to expressing the heady nature of 'truth'.
In this introductory entry in a continuing reevaluation of cinema's standard bearers, film fans Jordan Cronk and Calum Marsh dissect mid-period Godard, giving the French experimentalist and agent provocateur a long deserved defense of his post-'60s output.