Jean-Luc Godard

Jean-Luc Godard Headshot

Director

Birth Date: December 3, 1930

Death Date: September 13, 2022

Birth Place: Paris, France

Spouses: Anna Karina

Few filmmakers had so profound an effect on the development of cinema as Jean-Luc Godard, certainly one of the most important and influential directors worldwide to have emerged since the end of World War II.

From his early days as a critic and thinker in the pages of Cahiers du cinema, through the great age of the French New Wave of the 1960s, Godard redefined the way we look at film. An essayist and poet of the cinema, he made the language of film a real part of his narratives. Godard emerged on the international filmmaking scene with his most famous and perhaps best film, "Breathless" (1960), a celebration of the American film noir that also served as the stylistic template for the rest of the 1960s, widely considered to be his most fertile creative period. During that turbulent decade, Godard made no less than two films a year and sometime more, creating such experimental and increasingly politically-minded films as "Vivre sa vie" (My Life to Live") (1962), "Contempt" (1963), Bande à Part" ("Band of Outsiders") (1964) and "Alphaville" (1965), many of which starred his first wife, Anna Karina.

After making the critically panned "Weekend" (1967), a disgruntled Godard left the filmmaking business altogether in order to make political films. Once that interest waned in 1972, he entered into a transitional period of video and television projects that eventually segued into a second period of narrative filmmaking that was more experimental and inaccessible than his previous work, though some critics declared this time as being more creatively fruitful. Chief among the works was the controversial "Hail Mary" (1985), a contemporary retelling of the biblical Joseph and Mary story that was tagged by the Vatican as being blasphemous. Whether he was continuing his long love affair with film noir, as he did with "Detective" (1985), or trying new narrative techniques with the ambiguous "King Lear" (1987), Godard was not only a tireless experimenter with form and context, but also synonymous with the world of cinema itself.

Born on Dec. 3, 1930 in Paris, France, Godard was raised in a privileged home by his father, Paul-Jean, a physician, and his mother, Odile, the daughter of wealthy bankers. Having spent his upbringing in Switzerland, Godard also traveled to and from his family's various estates while attending school at the Lycée Buffon in Paris. But World War II forced him to go back to Switzerland until the war was over. Upon his return to Paris following the war, Godard discovered the Cinematheque Francaise, a film club formed by silent movie buff Henri Langlois, who had preserved numerous films and screened them in small rooms. Because of his diverse and eclectic tastes, Langlois' ciné-club was one of the more popular ones to have sprung up in post-war France. It was there that Godard began to meet some of the filmmakers that made up the French New Wave, including Jacques Demy, Claude Chabrol, Éric Rohmer and Francois Truffaut. While his interest in film turned into obsession, eventually trumping his desire to become a novelist, Godard placated his parents, who wanted him to have a steady career, by enrolling at the Sorbonne to study ethnology.

But he instead spent his time watching movies, sometimes three a day, which led to his family cutting off his allowance for neglecting his studies. In 1950, Godard put his literary aspirations to use writing articles for a short-lived film publication edited by Éric Rohmer. Two years later, he began writing for the intensely literary magazine, Cahiers du Cinema. It was through his work for Bazin that Godard began formulating the central ideas behind his future films: a love for classic American cinema, a penchant toward the political, a vehement distaste for contemporary Hollywood, and the grandiose idea of using cinema to band together the whole of Western civilization. Meanwhile, Godard began making up for the loss of income following his allowance being cut off by stealing from friends, family and even the offices of Cahiers du Cinema. His mother helped secure him employment with a Swiss television station, where he was again caught stealing and had to be bailed out jail by his father. A final disgrace following his theft of his grandfather's first editions of Paul Valéry's work, inscribed by the poet himself, led to checking himself into a mental hospital at his father's request.

At the time, Godard was known to carry a razor blade in his wallet just in case he wanted to commit suicide. But his radical obsession with film eventually led Godard to make his own films, which started while he took a construction job building a dam in Switzerland. His original intention was to save enough money to make his first film, but instead he rented a camera on his days off and filmed a short documentary about the dam's construction. Godard sold the film to the construction company and returned to Paris, where he resumed writing for Cahiers du Cinema while living off the profits of his sale. He also began making fictional shorts, including "Une Femme Coquette" (1955), while writing film reviews for Arts magazine. In 1957, Godard briefly worked in the publicity department for the Paris office of 20th Century Fox, after which he was hired as a press attaché for Artistes Associes. Meanwhile, his documentary short about the Swiss dam, "Operation Concrete," had its first public screening in 1958, while the following year he started writing a gossip column for Temps de Paris. But all was prelude to his next project; one that would catapult him to international stardom and cement forever his place in cinema history as one of its finest and most influential auteurs.

With "Breathless" (1960), his landmark feature debut, Godard broke with established narrative conventions, spontaneously mixing elements from the detective, comedy and suspense genres, while using a variety of techniques including hand-held cameras, location shooting, improvised dialogue and a loose narrative, that came to define the essence of the French New Wave. On the surface, "Breathless" was the story of a petty thief (Jean-Paul Belmondo) wanted for the murder of a police officer, who returns to Paris where he meets an American girl (Jean Seberg), a student and aspiring journalist unwittingly called upon to help hide him from the law. Underneath, however, the film was a loving ode to American film noir, with numerous references littered throughout; the most obvious being the thief modeling his image on Humphrey Bogart, while breaking seemingly every rule in the book - from jump-cut editing in the middle of a shot to characters looking directly into camera and breaking the proverbial fourth wall. "Breathless" turned Godard into an international celebrity who won numerous awards, including a Silver Bear for Best Director at the 1960 Berlin Film Festival, while the film itself joined the ranks of Truffaut's "The 400 Blows" (1959) and Alain Resnais' "Hiroshima mon amour" (1960) as the preeminent examples of French New Wave.

Because of the enormous notoriety he gained from "Breathless," Godard publicly wished that his next film would be a failure. And in a way it was. Deciding that there was something fundamentally wrong with the way people were leading their modern lives, Godard was ready to turn to political action as a solution. With his second film, "Le petit soldat" (1960), a deeply personal love story set during France's notorious war against Algeria, Goddard earned a degree of notoriety and even a few death threats prior to French authorities banning the film, largely due to scenes depicting torture. By this time, Godard was entering a fertile period that lasted well into the decade, only to end abruptly when he defiantly left the movie industry to make political documentaries. In 1961, he married actress Anna Karina, with whom he spent the next three years in a turbulent affair that sometimes saw Godard disappear for weeks at a time with no warning or explanation. But Karina starred in some of the director's finest work, including "A Woman Is a Woman" (1961), his whimsical send up of the musical comedy in which she played a nightclub striptease artist who decides it is time to have a child.

With a prodigious sense of exploration, Godard's films at the time tended to focus on couples who are alienated both from each other and from their environment; driven by uncertainty and mistrust and surrounded by the crass commercialism of late 20th century capitalism, they act arbitrarily with often tragic results. This was best exemplified in a critics' favorite, "Vivre sa vie" ("My Life to Live") (1962), an almost documentary-like look at a young Parisian woman (Karina), who abandons her husband and child to pursue an acting career, only to fall into prostitution which results in a tragic end. Arguably one of his most remarkable films, "My Life to Live" was structured into 12 sequences, with one of his typical scenes in which he drifts into philosophical discourse, which culminated in a stark commentary on the consumerist culture of modern day Paris. In one of his less brilliant efforts from the era, "Les Carabiniers" (1963), Godard discussed the politics of war in absurdist terms, with a screenplay co-scripted by one of Godard's key influences, Roberto Rossellini.

Turning for the first time to big-budget filmmaking, Godard directed French superstar Brigitte Bardot in "Contempt" (1963), one of his more compelling works that was both a relationship drama about a screenwriter (Michel Piccoli) hired by an arrogant American producer (Jack Palance) to adapt Homer's Odyssey while his marriage with a beautiful French woman (Bardo) crumbles, and a cynical satire on mainstream filmmaking and the never-ending conflict between art and consumerism. The latter was never on display fuller than the opening scene, which featured a nude Bardot asking her husband about whether or not he likes particular parts of her body. Shot at the insistence of American producers after Godard considered the film completed, the scene was unusually tame in its sexuality; a jab of the thumb from the director who rankled at the idea of others tampering with his work. Still, the film stood the test of time as one of Godard's finest pieces. In one of his more accessible films, "Band of Outsiders" ("Bande à Part") (1964), Godard followed three alienated youngsters (Anna Karina, Claude Brasseur and Sami Frey) who plan to rob a suburban house, leading to disastrous results. Another tour de force in terms of style, the film also served as inspiration for numerous filmmakers, including Quentin Tarantino, who named his production company, A Band Apart, after the movie.

Over the next three years, Godard continued to make challenging films, even as he secretly grew more frustrated with the moviemaking business. After a lesser work, "The Married Woman" (1964), he blended film noir with dystopian science fiction for "Alphaville" (1965), in which he created a uniquely menacing, futuristic look out of largely contemporary settings. The ambitious "Alphaville" told the tale of secret agent Lenny Caution (Eddie Constantine), who arrives at the titular capital of a fictional totalitarian state to destroy its leader, Alpha 60, an almost human-like supercomputer that has outlawed free thought. Godard directed his sixth film with his ex-wife Karina, "Pierrot le fou" ("Crazy Pete") (1965), a sad tale about an errant husband (Jean-Paul Belmondo) who abandons his wife and infant daughter in order to run away with the babysitter (Karina). With "Masculin-Feminin" (1966), Godard for the first time tackled the youth culture of the 1960s with this tale about a young man (Jean-Pierre Léaud) who engages in a love affair with a burgeoning singer (Chantal Goya).

As a favor to financially struggling producer Georges de Beauregard, Godard made the wildly disjointed "Made in USA" (1966), a dense and deliberately fragmented attempt to satirize the American crime thriller, starring Anna Karina in her last full-length feature for the director. Meanwhile, "Two or Three Things I Know About Her" (1967) was considered by some as the greatest of his masterpieces, being memorable for such stunning set-pieces as the coffee-cup cosmos and the model city built of consumer goods. Godard himself served as both filmmaker and narrator, commenting on the dysfunctional bourgeois universe he depicts via a housewife (Marina Vlady) who works part-time on the sly as a prostitute. Though little-seen as compared to his other work, "La Chinoise" ("The Chinese") (1967), turned out to be one of his more exquisite and fondly remembered films, if only because it was prescient of the New Left activism in France that came to the world's attention during the crippling workers strike in 1968. By the time he made "Weekend" (1967), Godard had reached a point where cinematic conventions no longer mattered. A Maoist diatribe against the evils of consumer society as seen through the eyes of a bourgeois couple (Mireille Darc and Jean Yanne), "Weekend" completely eschewed any semblance of normalcy, as characters directly addressed the camera, music rises and falls with no rhyme or reason, and the camera moves according to the director's own whim. Experimental to the extreme, the film proved to be one of Godard's least accessible films, while marking not only the end of his fertile 1960s period, but also his desire to make narrative fiction for the next decade.

Rejoining his colleagues from Cahiers du Cinema, Godard participated in the 1968 demonstrations over the dismissal of Henri Langlois as head of the "Cinematheque Francaise," which for them tied in with the famous nationwide worker strikes and student unrest which came to a head in May of that year. Then from 1968-1972, Godard made 11 political films; over half in collaboration with Jean-Pierre Gorin, whose involvement often varied from project to project, with most released as signed by the "Dziga-Vertov Group." By invoking the name of one of early Soviet cinema's most inventive filmmakers, Godard and Gorin were, according to them, "making political films politically." Although they claimed to have no answers, "only questions," their films appeared to address and support militant issues. Yet in the end, it was clear that Godard and Gorin had more concern with the process of filmmaking than with the process of revolution. Throughout their collaboration, they became obsessed with the job of turning theory into practice. "British Sounds" (1969) was perhaps the most successful of Godard's so-called revolutionary experiments, a collection of images and sounds meant to incite discussion about workers, women, students and revolution in general.

The "Dziga-Vertov" period culminated with two films: "Tout va bien" (1972) and "A Letter to Jane" (1972). "Tout va bien," with Yves Montand and Jane Fonda, was one of his more accessible films from this period, complete with international stars. As if in reaction, "Letter to Jane" was an essay about an image of Jane Fonda in Vietnam which had appeared in the magazine L'Express. A 45-minute monologue by Godard/Gorin, "Letter to Jane" explained much about their theories of images and sounds, and how they related to politics. Following the line of thinkers whose most influential spokesperson had been Bertolt Brecht, the Dziga-Vertov Group politicized the kind of cinema Godard himself had been creating all along; one which established critical distance and reflection on a film's subject matter through constant disruption of any invisible realistic style.

The Dziga-Vertov Group disbanded in 1973, with Gorin moving to California to teach and Godard moving on to video, which proved to be a better medium for the essays and experimentation he had in mind. In 1975, he left Paris for Grenobl to collaborate with his third wife, Anne-Marie Mieville, on intimate, challenging television and video work. The main productions of the video period were the two series, the ten-hour "Six Fois Deux/Sur et sous la communication" (1976) and the six-hour "France-Tour-Detour-Deux-Enfants" (1978). Godard started with the premise that "video is for those who do not see." These series comprised essays on commonplace everyday subjects, including family, love and work; all as they were presented by the media for mass consumption. With some success, Godard challenged the passivity of television viewers and their unquestioning acceptance of media messages. Individual segments of the "Six Fois Deux" series examined the mass media's approach to such subjects as unemployment, farming, the language of images, photo news, math, madness and society, and, of course, filmmaking. In separate segments, real people with direct knowledge of each area of inquiry, including a farmer, a filmmaker and a mathematician personally discussed these topics and their representation in the media.
"France-Tour-Detour-Deux-Enfants" juxtaposed philosophical interviews with two children (ages 9 and 12) from the same family about the meaning of daily activities against images of everyday life with their parents, including watching television. For the first time, in these projects for the small screen, Godard took on the role of teacher to share with a much larger audience his understanding of the complex language of film and TV. In 1975, Godard released two films: "Numero Deux;" notable not only for its bold sexuality, but also for his spare usage of only parts of the frame, and "Comment Ca Va," which indicated the direction for the future. Starting in 1980, Godard continued the reinvestigation of concerns and themes he had first developed in the 1960s. "Sauve qui peut (la vie)" (1980) and "Passion" (1982) gave portraits of emotional confusion mixed with commentary on the problems of filmmaking. With his next three films, Godard hit his stride again, starting with "First Name: Carmen" (1983), which imaginatively retold the old story of Bizet's opera Carmen alongside crime drama about a group of young people plotting to rob bank. His next film, "Detective" (1985), a challenging comic homage to the crime genre that was dedicated to John Cassavetes, Edgar G. Ulmer, and Clint Eastwood, brought Godard back, marking one of his most accessible films in years.

But it was "Hail Mary" (1985) which truly marked Godard's return to cinematic prominence. This modern nativity tale placed the story of Joseph (Thierry Rode) and Mary (Myriem Roussel) in contemporary society, and filled it with rampant jealousy and loneliness, and a bitter divorce. Adding to the controversy was a healthy amount of nudity and coarse language, leading to some in the Catholic world - particularly

Credits

Film annonce du film qui n'existera jamais : "Drôles de guerres"

Director
Movie
2023

Film annonce du film qui n'existera jamais : "Drôles de guerres"

Screenwriter
Movie
2023

Viva Varda !

Self
Movie
2023

Godard, seul le cinéma

Self
Movie
2022

Jean-Luc Godard

Screenwriter
Show
2020

The Image Book

Director
Movie
2018

The Image Book

Film Editing
Movie
2018

The Image Book

Narrator
Movie
2018

The Image Book

Producer
Movie
2018

The Image Book

Writer
Movie
2018

Jerry Lewis, clown rebelle

Self
Show
2016

En ligne de mire

Guest
Show
2016

Tre disastri

Director
Show
2015

Tre disastri

Writer
Show
2015

Goodbye to Language

Director
Movie
2014

Goodbye to Language

Screenwriter
Movie
2014

I ponti di Sarajevo

Director
Movie
2014

Les ponts de Sarajevo

Director
Movie
2014

Sympathy For The Devil

Director
Show
2013

Sympathy For The Devil

Screenwriter
Show
2013

Historias del Cine

Director
Show
2013

Libre court

Actor
Show
2013

3x3D

Director
Movie
2013

3x3D

Screenwriter
Movie
2013

Marcel Ophuls et Jean-Luc Godard, La rencontre de St-Gervais

Self
Movie
2011

Accomplice

Self
Movie
2010

Film Socialisme

Director
Movie
2010

Film Socialisme

Screenwriter
Movie
2010

Two in the Wave

Self
Movie
2009

Une histoire d'eau

Actor
Show
2007

Une histoire d'eau

Director
Show
2007

Reportage Amateur Maquette Expo

Director
Movie
2006

Moments choisis des histoire(s) du cinéma

Director
Movie
2004

Our Music

Director
Movie
2004

Our Music

Film Editing
Movie
2004

Ten Minutes Older

Director
Show
2002

Ten Minutes Older: The Cello

Director
Movie
2002

In Praise of Love

Director
Movie
2001

In Praise of Love

Writer
Movie
2001

After the Reconciliation

Actor
Robert
Movie
2001

Jlg/jlg: Self Portrait in December

Actor
Show
2000

Jlg/jlg: Self Portrait in December

Director
Show
2000

Jlg/jlg: Self Portrait in December

Writer
Show
2000

De l'origine du XXIe siècle

Director
Movie
2000

De l'origine du XXIe siècle

Film Editor
Movie
2000

De l'origine du XXIe siècle

Screenwriter
Movie
2000

The Old Place

Director
Movie
2000

The Old Place

Film Editor
Movie
2000

The Old Place

Narrator
Movie
2000

The Old Place

Screenwriter
Movie
2000

Histoire(s) du Cinéma: Control of the Universe

Director
Movie
1998

Histoire(s) du Cinéma: Control of the Universe

Film Editor
Movie
1998

Histoire(s) du Cinéma: Control of the Universe

Screenwriter
Movie
1998

We're All Still Here

Actor
L'homme comédien
Movie
1997

Inside/Out

Producer
Movie
1997

For Ever Mozart

Director
Movie
1996

For Ever Mozart

Film Editing
Movie
1996

For Ever Mozart

Film Editor
Show
1996

For Ever Mozart

Writer
Movie
1996

100 ans de cinéma: Deux fois 50 ans de cinéma Français

Director
Movie
1995

100 ans de cinéma: Deux fois 50 ans de cinéma Français

Film Editing
Movie
1995

JLG, JLG

Actor
Movie
1995

JLG, JLG

Director
Movie
1995

JLG, JLG

Film Editor
Movie
1995

JLG, JLG

Producer
Movie
1995

JLG, JLG

Writer
Movie
1995

Les enfants jouent à la Russie

Actor
The Idiot: Prince Mishkin
Movie
1993

Les enfants jouent à la Russie

Director
Movie
1993

Les enfants jouent à la Russie

Film Editing
Movie
1993

Les enfants jouent à la Russie

Screenwriter
Movie
1993

Hélas pour moi

Director
Movie
1992

Hélas pour moi

Film Editing
Movie
1992

Hélas pour moi

Screenwriter
Movie
1992

Against Oblivion

Director
Movie
1992

Kings Of Ads / 巨匠たちのCF

Director
Movie
1991

Germany Year 90 Nine Zero

Director
Movie
1991

Germany Year 90 Nine Zero

Writer
Movie
1991

Fuori orario. Cose (mai) viste

Director
Show
1990

Nouvelle Vague

Director
Movie
1990

Nouvelle Vague

Screenwriter
Movie
1990

Histoire(s) du cinéma

Director
Docuseries
1989

Histoire(s) du cinéma

Editing
Docuseries
1989

Histoire(s) du cinéma

Narrator
Docuseries
1989

Histoire(s) du cinéma

Writer (Scenario)
Docuseries
1989

Histoire(s) du Cinéma: Une Histoire Seule

Director
Movie
1989

Histoire(s) du Cinéma: Une Histoire Seule

Screenwriter
Movie
1989

ゴダールの映画史 第1章 すべての歴史

Actor
Movie
1988

ゴダールの映画史 第1章 すべての歴史

Director
Movie
1988

ゴダールの映画史 第1章 すべての歴史

Screenwriter
Movie
1988

Aria

Director
Movie
1987

Soigne ta droite

Actor
L'idiot et le prince
Movie
1987

Soigne ta droite

Director
Movie
1987

Soigne ta droite

Writer
Movie
1987

King Lear

Actor
Professor Pluggy (uncredited)
Movie
1987

King Lear

Director
Movie
1987

King Lear

Film Editing
Movie
1987

Grandeur et décadence d'un petit commerce de cinéma

Director
Movie
1986

Grandeur et décadence d'un petit commerce de cinéma

Screenwriter
Movie
1986

Soft and Hard

Director
Movie
1986

Hail Mary

Director
Movie
1985

Hail Mary

Writer
Movie
1985

Detective

Director
Movie
1985

Je vous salue, Marie

Director
Movie
1984

Petites notes à propos du film 'Je vous salue, Marie'

Director
Movie
1983

BreathlessStream

Screenwriter
Movie
1983
63%

First Name: Carmen

Actor
Oncle Jeannot
Movie
1983

First Name: Carmen

Director
Movie
1983

First Name: Carmen

Writer
Movie
1983

Lettre à Freddy Buache

Director
Movie
1982

Lettre à Freddy Buache

Screenwriter
Movie
1982

Scénario du film 'Passion'

Director
Movie
1982

Scénario du film 'Passion'

Narrator
Movie
1982

Passion

Director
Movie
1982

Godard

Self
Show
1980

Sauve qui peut.

Director
Movie
1980

Sauve qui peut.

Film Editing
Movie
1980

Every Man for Himself

Film Editor
Show
1980

Sauve qui peut.

Producer
Movie
1980

Sauve qui peut.

Writer (Screenplay)
Movie
1980

Scénario de Sauve qui peut (la vie)

Director
Movie
1979

Comment ça va?

Director
Movie
1978

Comment ça va?

Producer
Movie
1978

Comment ça va?

Screenwriter
Movie
1978

Ici et ailleurs

Director
Movie
1976

Ici et ailleurs

Narrator
Movie
1976

Ici et ailleurs

Producer
Movie
1976

Ici et ailleurs

Screenwriter
Movie
1976

Number Two

Writer
Movie
1975

One Parallel Movie

Director
Movie
1972

One Parallel Movie

Writer
Movie
1972

Tout Va Bien

Director
Movie
1972

Letter to Jane: An Investigation About a Still

Director
Movie
1972

Letter to Jane: An Investigation About a Still

Narrator
Movie
1972

Vladimir and Rosa

Actor
Vladimir Lenin
Movie
1971

Vladimir and Rosa

Cinematography
Movie
1971

Vladimir and Rosa

Director
Movie
1971

Vladimir and Rosa

Film Editing
Movie
1971

Vladimir and Rosa

Screenwriter
Movie
1971

Struggle in Italy

Director
Movie
1971

Struggle in Italy

Film Editing
Movie
1971

Struggle in Italy

Screenwriter
Movie
1971

Wind From the East

Director
Movie
1970

Wind From the East

Screenwriter
Movie
1970

British Sounds

Actor
Movie
1970

British Sounds

Director
Movie
1970

British Sounds

Screenwriter
Movie
1970

British Sounds

Writer
Movie
1970

Pravda

Director
Movie
1970

Le gai savoir

Director
Movie
1969

Le gai savoir

Narrator
Movie
1969

Le gai savoir

Screenwriter
Movie
1969

Love and Anger

Director
Movie
1969

The Dick Cavett ShowStream

Guest
Talk
1968

Fellini in città ovvero frammenti di una conversazione su Federico Fellini

Self
Movie
1968

Un film comme les autres

Director
Movie
1968

Un film comme les autres

Writer
Movie
1968

Sympathy for the Devil

Director
Movie
1968

Sympathy for the Devil

Writer
Movie
1968

The Oldest Profession

Director
Movie
1967

Les plus belles escroqueries du monde

Director
Movie
1967

WeekendStream

Director
Movie
1967
93%

La Chinoise

Director
Movie
1967

La Chinoise

Screenwriter
Movie
1967

Far From Vietnam

Director
Movie
1967

Two or Three Things I Know About Her

Director
Movie
1967

Two or Three Things I Know About Her

Writer
Movie
1967

Deux ou trois choses que je sais d'elle

Director
Movie
1967

Deux ou trois choses que je sais d'elle

Writer
Movie
1967

Masculine-FeminineStream

Director
Movie
1966
96%

Masculine-FeminineStream

Producer
Movie
1966
96%

Masculine-FeminineStream

Writer
Movie
1966
96%

Made in USA

Director
Movie
1966

Made in USA

Writer
Movie
1966

Pierrot le Fou

Director
Movie
1965
88%

Pierrot le Fou

Screenwriter
Movie
1965
88%

A Married Woman

Director
Movie
1965

A Married Woman

Screenwriter
Movie
1965

Six in Paris

Director
Movie
1965

AlphavilleStream

Director
Movie
1965
92%

AlphavilleStream

Writer (Screenplay and Dialogue)
Movie
1965
92%

Band of Outsiders

Actor
Le narrateur
Movie
1964
94%

Band of Outsiders

Director
Movie
1964
94%

Band of Outsiders

Writer
Movie
1964
94%

Le Petit SoldatStream

Director
Movie
1963
80%

Le Petit SoldatStream

Screenwriter
Movie
1963
80%

Le parti des choses : Bardot et Godard

Actor
Movie
1963

Paparazzi

Self
Movie
1963

Contempt

Director
Movie
1963
92%

Contempt

Writer
Movie
1963
92%

Les Carabiniers

Dialogue
Movie
1963
80%

Les Carabiniers

Director
Movie
1963
80%

Les Carabiniers

Screenwriter
Movie
1963
80%

Le Nouveau Monde

Director
Movie
1962

Rogopag

Director
Movie
1962

My Life to Live

Director
Movie
1962

My Life to Live

Film Editing
Movie
1962

My Life to Live

Writer
Movie
1962

The Seven Cardinal Sins

Director
Movie
1962

The Seven Cardinal Sins

Writer
Movie
1962

Sloth

Director
Movie
1961

Une histoire d'eau

Director
Movie
1961

Une histoire d'eau

Narrator
Movie
1961

Une histoire d'eau

Screenwriter
Movie
1961

Les fiancés du pont Mac Donald

Actor
Movie
1961

Cleo from 5 to 7Stream

Actor
L'homme aux lunettes noires/Actor in silent film (uncredited)
Movie
1961
92%

Charlotte et son Jules

Director
Movie
1960

Charlotte et son Jules

Screenwriter
Movie
1960

Charlotte et son Jules

Voice
Movie
1960

Présentation ou Charlotte et son steak

Actor
Walter
Movie
1960

Une femme est une femme

Director
Movie
1960

Une femme est une femme

Screenwriter
Movie
1960

Charlotte et Véronique, ou Tous les garçons s'appellent Patrick

Director
Movie
1959

BreathlessStream

Actor
An Informer
Movie
1959
96%

BreathlessStream

Director
Movie
1959
96%

BreathlessStream

Writer
Movie
1959
96%

Sin aliento

Actor
Movie
1959

Sin aliento

Director
Movie
1959

Operation Concrete

Director
Movie
1958

Operation Concrete

Film Editor
Movie
1958

Operation Concrete

Narrator
Movie
1958

Operation Concrete

Screenwriter
Movie
1958

La Sonate à Kreutzer

Actor
Ami journaliste
Movie
1956

La Sonate à Kreutzer

Producer
Movie
1956

Le coup du berger

Actor
Un invité à la fête
Movie
1956

Une femme coquette

Cinematographer
Movie
1955

Une femme coquette

Director
Movie
1955

Une femme coquette

Film Editor
Movie
1955

Une femme coquette

Screenwriter
Movie
1955

News aboutJean-Luc Godard