Collage of happenings and realities of the French counterculture, including ritual feasts during which beings emerge from behind the walls and find their normal state. The film is against all moral, aesthetic and political "values" of industrial society. —Jean-Jacques Lebel
Michèle Giraud
Jean-Jacques Lebel
Collage of happenings and realities of the French counterculture, including ritual feasts during which beings emerge from behind the walls and find their normal state. The film is against all moral, aesthetic and political "values" of industrial society. —Jean-Jacques Lebel
This Surrealist film, with a title referencing the Communist Manifesto, strings together short incidents based on the life of director Luis Buñuel. Presented as chance encounters, these loosely related, intersecting situations, all without a consistent protagonist, reach from the 19th century to the 1970s. Touching briefly on subjects such as execution, pedophilia, incest, and sex, the film features an array of characters, including a sick father and incompetent police officers.
กลุ่มสามเกลอที่ดูจากภายนอกไม่น่ามารวมตัวกันได้ ต้องมาร่วมมือกันเพราะมีเหตุการณ์ชวนขนหัวลุกเกิดขึ้นอย่างต่อเนื่องไม่จบไม่สิ้น ได้เวลาพวกเขาผจญภัยไปในเส้นทางสุดป่วนชวนฮา สู่การสมรู้ร่วมคิดของรัฐบาลแสนชั่วช้า
A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.
Bill Whitney is worried that he is different to his sister and parents. They mix with other upper-class people while Bill is more down to earth. Even his girlfriend seems a bit odd. All is revealed when Bill returns home to find a party in full swing.
A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism.
A picaresque journey through contemporary America, undertaken by a young woman granted access to the strange sects and cults that proliferate in this country by a series of gatekeepers eager to win her over.
A man on the verge of a promotion takes a mysterious hallucinogenic drug that begins to tear down his reality and expose his life for what it really is.
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.
Camille, is the eldest of a large family. One day, her parents enter a religious community which gradually, regimentation becomes sectarian and Camille will have to fight to assert her freedom and save her brothers and sisters.
อนาคตในโลกดิสโทเปีย วาติกันรู้วิธีที่จะฟื้นคืนชีพคนตาย บาทหลวงหนุ่มคนหนึ่ง (เดฟ เดวิส) ได้รู้ถึงแผนการสมรู้ร่วมคิดถึงเบื้องหลังการฟื้นคืนชีพ และความเป็นไปได้ที่จะเชื่อมโยงถึงเหตุการณ์ฆาตกรรมต่อเนื่อง