1961
“A Girl Is a Girl”
Arguably the director’s most frivolous movie, “A Girl Is a Girl” was described on the time as “a neorealist musical” — two genres that would appear fairly incompatible. Godard’s soon-to-be spouse Anna Karina performs a stripper, attempting to rope one of many males in her life into impregnating her. Emboldened by the success of “Breathless,” Godard shreds much more conventions. He chops Michel Legrand’s lush rating into disconnected fragments, has characters handle the digicam, exposes his personal artifice, and usually expresses his sense that actual life is only one lengthy film.
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1962
“Vivre Sa Vie”
Godard adopted the giddy playtime of “A Girl Is a Girl” with the a lot bleaker, unusually simple “Vivre Sa Vie” (a.okay.a. “My Life to Stay”). Anna Karina performs an aspiring actress who has to work as a prostitute to get by, discovering herself adopting a wide range of totally different roles to maintain her purchasers happy. Leaving apart the self-reference and winks on the viewers, the director as an alternative tells this extremely metafictional story in a dozen docu-realistic vignettes, revealing the alienation of city life and the cruelty of males.
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1965
“Alphaville”
A cold tackle dystopian science-fiction, this uncommon Godard fantasy movie was shot in early Nineteen Sixties Paris, unaltered in any option to look extra futuristic. “Alphaville” places a rumpled, noir-ready undercover agent towards a backdrop of mid-Twentieth-century modernism, and lets the visible conflict between the character and his habitat mirror the artist’s personal dim view of how know-how strangles the life out of humanity. Style filmmakers in a post-“Alphaville” world must reckon with how Godard made the bizarre appear alien.
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1967
“Weekend”
The apotheosis of Godard’s early work, “Weekend” crams astonishing imagery and provocative concepts into practically each minute, all whereas telling a grabby satirical story a couple of really horrible and casually violent upper-middle-class couple, whose journey into the nation turns into a suitably ironic nightmare. The movie’s centerpiece sequence is an extended monitoring shot throughout an epic site visitors jam, dotted with pathetic rage and punctuated by stomach-turning gore. Altogether, this film is one lengthy howl of disgust, delivered with sufficient power and humor to be gripping.
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