Jardin

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

20 men are chosen to participate in the roles of guards and prisoners in a psychological study that ultimately spirals out of control.

After losing his wife and his memory in a car accident, a single father undergoes an experimental treatment that causes him to question who he really is.

Victor Frankenstein is a promising young doctor who, devastated by the death of his mother during childbirth, becomes obsessed with bringing the dead back to life. His experiments lead to the creation of a monster, which Frankenstein has put together with the remains of corpses. It's not long before Frankenstein regrets his actions.

A cliché hunchbacked evil scientist's assistant aspires to become a scientist himself, much to the displeasure of the rest of the evil science community.

Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.

The legendary Roberto Duran and his equally legendary trainer Ray Arcel change each other's lives.

A grizzled, hard-of-hearing cowboy, Slim, and his two friends, Dusty and Pete, capture a mysterious, well-dressed Frenchman.

After writing for Cahiers du cinéma, a young Jean-Luc Godard decides making films is the best film criticism. He convinces producer Georges de Beauregard to fund a low-budget feature, and creates a treatment with fellow New Wave filmmaker François Truffaut about a gangster couple. The result? Breathless, one of the first features of the Nouvelle Vague era of French cinema.

Longing for a baby, a stripper pursues another man in order to make her boyfriend jealous.