Souvenir d'utopie

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.

Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.

An inexperienced young actress is invited to play a role in a film based on Dostoyevsky's 'The Possessed'. The film director, a Czech immigrant in Paris, takes over her life, and in a short time she is unable to draw the line between acting and reality. She winds up playing a real-life role posing as the dead wife of another Czech immigrant, who is manipulated by the filmmaker into commiting a political assassination.

The life of Camille Claudel, a French sculptor who becomes the apprentice of Auguste Rodin and later his lover. Her passion for her art and Rodin drive her further away from reason and rationality.

Revolutionary French New Wave director Jean-Luc Godard conducts a twenty-five minute interview with influential and acclaimed American director Woody Allen on the cultural radiation, the ubiquity and significance of Television, and how Television compares with cinema as a medium and form of expression.

In the frenzy of Fashion Week, three women cross paths in Paris, grappling with the world's tragedies and the questions of their lives: Maxine, an American film director in her forties, discovers she has cancer; Ada, a young South Sudanese model, escapes a predetermined destiny to be thrust into a deceptive universe and French makeup artist Angèle, a small hand working in the shadows of the catwalks, dreams of escaping her life.

Adapted from the novel L'Argent by Émile Zola, the film portrays the world of banking and the stock market in Paris in the 1920s.

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.

Young Violetta and her mother Hannah are a peculiar couple. Ten-year-old Violetta lives a quiet life with her grandmother, while her mother Hannah is an unpredictable photographer who lives off of the generosity of others. When Hannah forces her daughter to pose as a model, Violetta finds her life with her loving grandmother turned upside down.The resulting pictures quickly become a sensation for the trendy 70's Paris art scene, and Violetta finds herself caught in between her new stature as an art muse and her dull childhood.

One night, Arlequin comes to see his lover Colombine. But then Pierrot knocks at the door and Colombine and Arlequin hide. Pierrot starts singing but Arlequin scares him and the poor man goes away.