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Ecce Homo (2006)
Character: (voice)
Also punningly known as Ecce Homo; Excès oh! Mot.
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Le quadrille (1950)
Character: Self
The film features five actors, two women and three men. According to Rivette, “It ran 40 minutes and nothing happens. It’s just four people sitting around a table, looking at each other. After ten minutes, people started to leave, and at the end, the only ones who stayed were Jean-Luc and a girl.”
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Printtemps (2020)
Character: Self (archive footage)
For Jean-Luc Godard,
with all the admiration and affection of Jacques Perconte and Nicole Brenez.
December 3, 2020.
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Iter (2020)
Character: Self
A Jean-Luc Godard course in Nanterre Amandiers.
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Tạm biệt Anna (2020)
Character: Self (archive footage)
A short film by Joel Nguyen, made for his mother. Influenced from Agnès Varda
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Moving Pictures (1994)
Character: Self
"Today memory creeps along the wall at Seven Bleecker. In the back of my eyes, longings and obsessions, Outside someone is yelling Robert! I love New York…." Robert Frank looks back on a lifetime of memory-gathering through photographs, home movies (his parents' gravesite, June Leaf making art), portraits of artist friends (Raoul Hague, Allen Ginsberg), and portraits of those he admired (Jean-Luc Godard). The film resembles one of Gregory Corso's "shuffle poems," as Frank muses, "Together go words and images without sound. I have an obsession in my life for Fragments which reveal and hide truth." — Museum of Modern Art
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Ciné-girl (1969)
Character: Self (uncredited)
A young, unscrupulous director hires an actress and uses the story she tells him of her life to write his screenplay, but fires her and entrusts the leading role to someone else.
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Godard Etkisi (2021)
Character: Self (archive footage)
The first woman and the second woman spend a day together. According to their views, they are friends who belong to two different classes. With a non-linear narrative, they provide us with topics of discussion and radical ideas from their daily lives.
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Les trois désastres (2013)
Character: Narrator
Short film originally made as part of the anthology film, 3x3D. Jean-Luc Godard's first 3-D film interrogates the history of the technology and explores its possibilities.
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Accomplice (2010)
Character: Self (archive footage)
An artist-criminal far from home asks his assistant to pirate a rare videotape before the German Post Office Authorities come to confiscate it.
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Cineastes en acció (2006)
Character: Self (archive footage)
What is the state of cinema and what being a filmmaker means? What are the measures taken to protect authors' copyright? What is their legal status in different countries? (Sequel to “Filmmakers vs. Tycoons.”)
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Routine Pleasures (1986)
Character: Self (Archive photos)
Jean-Pierre Gorin interacts with a club of model railroad train enthusiasts and his mentor, artist/writer Manny Farber.
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Histoire(s) du cinéma 1b : une histoire seule (1989)
Character: Self - Filmmaker / Narrator (voice)
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.
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Opération "Béton" (1958)
Character: Narrator (voice)
Godard returned to Paris briefly before getting a job as a construction worker on a dam project in Switzerland. With the money from the job, he made a short film about the building of the dam called Opération béton (Operation Concrete).
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Histoire(s) du cinéma 1a : toutes les histoires (1989)
Character: Self - Filmmaker / Narrator (voice)
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.
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Histoire(s) du cinéma 2a : seul le cinéma (1997)
Character: Self - Filmmaker / Narrator (voice)
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.
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Histoire(s) du cinéma 2b : fatale beauté (1997)
Character: Self - Filmmaker / Narrator (voice)
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.
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Il y avait quoi (pour Éric Rohmer) (2010)
Character: Self (uncredited)
Brief, fragmented memories of Rohmer spoken by Godard, while the screen shows various titles of articles Rohmer wrote for Cahiers du Cinema.
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Adieu au TNS (1998)
Character: Self
In 1998, Jean-Luc Godard made a short video entitled Adieu au TNS (Farewell to the TNS). Never released (or intended to be), the video is nearly impossible to see and has not been included in any Godard retrospectives to date.
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Scénario du film Passion (1982)
Character: Narrator / Self
Godard constructs a lyrical study of the cinematic and creative process by deconstructing the story of his 1982 film Passion. “I didn’t want to write the script,” he states, “I wanted to see it.” Positioning himself in a video editing suite in front of a white film screen that evokes for him the “famous blank page of Mallarmé,” Godard uses video as a sketchbook with which to reconceive the film. The result is a philosophical, often humorous rumination on the desire and labor that inform the conceptual and image making process of the cinema.
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The Old Place (2000)
Character: Self / Narrator (voice)
Essay on the influence of arts at the end of the 20th century produced by the Museum of Modern Art.
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Voices (1969)
Character: Self
Documentary about Jean-Luc Godard filming Sympathy for the Devil with The Rolling Stones.
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La Nouvelle Vague par elle-même (1964)
Character: Self
Made for Cinéastes de notre temps series. In 1964, several French New Wave auteurs discuss the success and crisis of the wave. Featuring Claude Chabrol, François Truffaut, Jacques Rivette, Jean-Luc Godard, Jacques Rozier, Jacques Demy, Agnès Varda, Jean Rouch, and many others.
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Reportage amateur (Maquette expo) (2006)
Character: Self (voice) (uncredited)
Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.
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Le Rapport Darty (1989)
Character: Nathanael, the 2000 year-old robot
A daring deconstruction of consumerist behavior featuring a robot and Miss Clio Darty, with a voiceover by Godard and Anne-Marie Miéville, this philosophical "report," like so many of Godard's commissions, was rejected by its funders.
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Godard 1980 (1980)
Character: Self
The famous French film director Jean-Luc Godard is interviewed by British film theorist Peter Wollen and the editor of Framework Don Ranveaud. He talks of the developments in his work, the change in style epitomized by his most recent film, Sauve Qui Peut, his work with Francis Ford Coppola and the relations between his previous films and the new one. He also discusses his radical method of scriptwriting and the critical responses to his latest film.
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Isabella Rossellini - Aus dem Leben eines Schmetterlings (2010)
Character: Self
She is one of the icons of our time: Isabella Rossellini, award-winning actress, supermodel, experimental filmmaker, feminist. She was married to Martin Scorsese and was in a relationship with David Lynch for many years. The star talks about successes and fears.
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Godard à la télé - 1960-2000 (1999)
Character: Self (archive footage)
A compilation of the most spectacular TV moments thanks to the presence and evocation of Jean-Luc Godard on the small screen. Godard's presence has never been, and never will be, anodyne or banal. The subversion of everyday television.
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Back to Room 666 (2008)
Character: Self (archive footage)
What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many movie makers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.
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Quod Erat Demonstrandum (2012)
Character: Self
A collaborator since 2002 (Notre Musique), Fabrice Aragno did not want to make a documentary ‘on’ but ‘with’ Jean-Luc Godard. The latter decided on a mathematical approach. The TV station asked for 26 minutes, and so Godard suggested they make 26 one-minute sequences, and have 4 shots in each sequence, all recycled from his work.
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One to One: Jean-Luc Godard Speaks (1968)
Character: Self
Short film, going behind-the-scenes of shooting for One Plus One (1968) in London, featuring an interview with Godard sitting beside a tree. Many crew members from this shoot were then borrowed by him, playing the press in the film's Eve Democracy sequence. Originally broadcast on the BBC programme 'Release' (30th Nov. '68).
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The Making of Rocky Road to Dublin (2004)
Character: Self
This documentary reunites director Peter Lennon and cinematographer Raoul Coutard, who recount the making of their then controversial but now classic documentary on Ireland in the Sixties. Rocky Road to Dublin was screened for only a few weeks at a single Dublin theatre.
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Marguerite, telle qu’en elle-même (2003)
Character: Self (archive footage)
On June 3, 1991, Marguerite Duras gave me her last published work, "The North China Lover", autographed for the first time. She wrote: "For my friend Dominique Auvray, in memory of a wonder of wonders: a still recent past, when we worked together in the cinema". This is a portrait of her as she was cheerful and serious, authentic and provocative, considerate and categorical, but first and foremost young and free.
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Jean-Luc Godard, le désordre exposé (2012)
Character: Self (archive footage)
The film retraces Jean-Luc Godard's notorious exhibition at the Centre national d'art et de culture Georges Pompidou in Paris between 11 May – 14 August 2006.
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Mag Bodard, un destin (2005)
Character: Self (archive footage)
Mag Bodard, un destin is an archive documentary filmed for television by Anne Wiazemsky in 2005.
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September September (1986)
Character: Self (archive footage)
"[This film] embodies (...) one of his [Hahnemann's] most mature films. Rainy rides along Schönhauser Allee, which seems to be depopulated. Past the 'Viennese Café', the meeting place par excellence. From a moving train the view of idyllic landscapes, on the horizon a castle. The camera tilts, turns, until the world is upside down. Scenes of an action with the artist friend Heike Stephan: in the sanctuary Hahnemann, black painted with a white turban, and Stephan, stack cages with rabbits on top of each other. Then TV recordings of a discussion forum with Jean-Luc Godard and Rosa von Praunheim - scenes as from another planet. From the off again and again a poem Hahnemann, recited by Peter Mario Graus. The diction is initially calm, almost factual, increases, eventually overturns, but then falls back, resigned. " (Claus Löser in "Gegenbilder")
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Jean Cocteau, mensonges et vérités (1997)
Character: Self
This documentary consists mainly of archive interviews of Jean Cocteau, and it features interesting contributions by Jean Marais and especially Jean-Luc Godard, who discusses Cocteau's foray into cinema. The film documents all the artistic media explored by a man who defined himself, first and foremost, as a poet.
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Il était une fois… Le Mépris (2009)
Character: Self
Fourty-six years since the release of Le mépris, Jean-Luc Godard watches the film again to comment on it and its tumultuous production. Featuring interviews with: Jacques Rozier, Alain Bergala, Michel Piccoli, Charles Bitsch.
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Civilisation: L'homme et les images (1967)
Character: Self
Collective contribution to a history of cinema, this issue of the “Civilisations” collection also takes part in the genesis of Deux ou trois choses que je sais d'elle and La Chinoise
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Mireille Darc, la femme libre (2018)
Character: Self (archive footage)
On August 28, 2017, Mireille Darc passed away at the age of 79. She was Audiard and Lautner's favorite actress, the sex symbol of the pop years, a photographer, a woman in love, and a documentary filmmaker. The artist was also the patron of La Chaîne de l'espoir, an association that helps disadvantaged children. Mireille Darc tells her story through a selection of her most intimate interviews. Her loved ones also talk about her: her husband, Pascal Desprez; Anthony Delon; Véronique de Villèle, her personal assistant and friend; writer Lionel Duroy; Professor Deloche; and photographers Richard Melloul and Francis Giacobetti, who made her their model...
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JLG\PG (2009)
Character: Self
A movie about the contempt of the man who recorded the contempt.
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Conversation avec JLG (2010)
Character: Self
An interview with Jean-Luc Godard by Dominique Maillet and Pierre-Henri Gibert, filmed on August 10, 2010 at the Hôtel de Vendôme in Paris.
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Alianças Profanas (2022)
Character: Self
During the quarantine promoted by the Coronavirus, hundreds of videos posted on Darwin's personal Instagram become a biased diary of our time, of the last 10 years and, at the same time, a deep dive into his being, a dive for those who see and for those who made, an experience of discovery, resistance and contemplation, for both sides.
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Close Up (2012)
Character: Self (archive footage)
More than 150 silent short films about singers, actors and directors captured during Press Conferences in Cannes, Venice and Berlin, between 1993 and 2002. Presented the first time in 2012 (ten years after the last shooting) in Napoli Film Festival and in 2013 at the Art Institute of California in Santa Ana. An anthropological experiment on the facial expressions of famous people showing the human being aspect. All original footage from Mel Gibson to Peter Jackson, from George Lucas to Catherine Deneuve, from Michael Douglas to Giancarlo Giannini and many others.
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Leçons de cinéma de Godard à Montréal, classe 1 (1978)
Character: Self
Lesson of April 14, 1978 (class #1) Films discussed: Fallen Angel (Otto Preminger, 1945), Breathless (Jean-Luc Godard, 1958). In the vaults of Concordia University's Visual Collections Repository department slept some 30 ½-inch black-and-white video open reels. They contained Jean-Luc Godard's 14 lessons, spread out from April 14, 1978 to October 21, 1978. The sessions consisted of long and brilliant series of digressions (often uninterrupted), initiated by questions from the audience or from Serge Losique. There are dazzling reflections on editing, economics, actors and actresses, war, political commitment, the media, and we witness the setting in motion of a unique thought.
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Leçons de cinéma de Godard à Montréal, classe 10 (1978)
Character: Self
Lesson of October 7, 1978 (class #10). Films discussed : Battleship Potemkin (Sergei Eisenstein, 1925), The Golden Age (Luis Buñuel and Salvador Dali, 1930), Mr. Deed Goes to Town (Frank Capra, 1936), La chinoise (Jean-Luc Godard, 1967). In the vaults of Concordia University's Visual Collections Repository department slept some 30 ½-inch black-and-white video open reels. They contained Jean-Luc Godard's 14 lessons, spread out from April 14, 1978 to October 21, 1978. The sessions consisted of long and brilliant series of digressions (often uninterrupted), initiated by questions from the audience or from Serge Losique. There are dazzling reflections on editing, economics, actors and actresses, war, political commitment, the media, and we witness the setting in motion of a unique thought.
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Leçons de cinéma de Godard à Montréal, classe 11 (1978)
Character: Self
Lesson of October 13, 1978 (course #11). Films discussed: Dracula (Tod Browning, 1931), Germany Year Zero (Roberto Rossellini, 1948), The Birds (Alfred Hitchcock, 1963), Weekend (Jean-Luc Godard, 1967). In the vaults of Concordia University's Visual Collections Repository department slept some 30 ½-inch black-and-white video open reels. They contained Jean-Luc Godard's 14 lessons, spread out from April 14, 1978 to October 21, 1978. The sessions consisted of long and brilliant series of digressions (often uninterrupted), initiated by questions from the audience or from Serge Losique. There are dazzling reflections on editing, economics, actors and actresses, war, political commitment, the media, and we witness the setting in motion of a unique thought.
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Jean-Luc Godard à la Cinémathèque française (1985)
Character: Self
After offering spectators a projection/comparison of extracts from 17 films (each time, the first 5 minutes of their second reel) entitled "Une histoire A/B du cinéma" (A/B history of cinema), Jean-Luc Godard becomes a film historian, reflecting live and in public on his future Histoire(s) du cinéma (History(s) of cinema), which will not be considered complete until 1998. Edited from Betacam cassette rushes recovered in 2023 and digitized by the Cinémathèque française.
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Ruídos da Ágora (2025)
Character: Self
Football, betting, agriculture, technology, conspiracy theories and the second round of one of the most turbulent elections in the history of Brazilian politics. The daily political debate in a small newsstand in the interior of Rio Grande do Sul and the sound, visual and spatial noises of the contemporary agora.
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Godard: History: Passion (1983)
Character: Self
A 1983 film for Channel Four’s Visions, featuring interviews about the impact of Godard of British filmmakers and critics.
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Lila (2023)
Character: Self
Lila Biro is a remarkable character who witnessed Rossellini in India, played a key role in the cutting of key titles of the French New Wave, and was a close collaborator of the Hungarian émigré painter, Atila Biro. For me, however, she’s also the star witness in a crime against film grammar: the jump cut. The editing style of Jean-Luc Godard’s Breathless is now legendary, but I’ve always wondered what it must have been like in the cutting room when that revolutionary editorial decision was made. Thanks to Lila, that moment is vividly brought to life.
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Le cinéma selon Jean-Luc (1965)
Character: Self
Rare documentary for French television in which Jean-Luc Godard discusses his films with Jacques Doniol-Valcroze. It contains footage of directing his latest film, Une femme mariée.
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Paradjanov, le dernier collage (1995)
Character: Self
Parajanov lifts the curtain on numerous unfinished scenes and fragments of unshot films. These are memories of his childhood, death, friends, Tiflis, Kyiv, Yerevan. Seven stories from the life of Parajanov and the close circle that shared his entire life path with him.
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Carottage (2013)
Character: self
The “Journal Annales” consists of almost 2.000 hours of video footage collected by filmmaker Lionel Soukaz since 1991. For “Carottage”, the idea was to take a random sample from this vast volume, like a geological core sample. The result is a condensed history of political struggles and radical cultural experimentation spanning two decades.
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Six fois deux/Sur et sous la communication 1a & 1b : Y'a personne & Louison (1976)
Character: Self
Parts 1 and 2 of this radically unconventional television series where Godard and Miéville analyze the political economy of personal and mass media communications in relation to society, culture, family and the individual. Their inquiry focuses “on and beneath” communications in a provocative critique of the power of media images in contemporary culture and everyday life.
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Six fois deux/Sur et sous la communication 2a & 2b : Leçons de chose & Jean-Luc (1976)
Character: Self
Parts 3 and 4 of this radically unconventional television series where Godard and Miéville analyze the political economy of personal and mass media communications in relation to society, culture, family and the individual. Their inquiry focuses “on and beneath” communications in a provocative critique of the power of media images in contemporary culture and everyday life.
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Changer d'image : Lettre à la bien-aimée (1982)
Character: The Idiot (uncredited)
1981: at the moment the left won power, French television commissioned Godard to make a film on the theme of change. Like Lettre à Freddy Buache, this film is born of the impossibility of carrying out the commission. For the space where change appears is not the image but the gap between images.
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Six fois deux/Sur et sous la communication (1976)
Character: Self
The title and subtitle of this French miniseries are “Six Times Two; Over and under the media”. The “six” refers to the fact that there are six episodes; the “two” has a double meaning.
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Cinéma! Cinéma! The French New Wave (1992)
Character: Self
An intimate window into one of the great movements in film history that brought about an evolution in the art of cinema. The documentary portrays the movement with insight on the lives and works of Jean-Luc Godard, François Truffaut and other principal players in the New Wave.
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Françoise et Udo... (1968)
Character: Self
This is the story of a meeting between a man and a woman. In a train, an Austrian singer and a French teacher exchange on their past, their character, and fall in love. Their journey is made in music. The opportunity to evoke Georges Brassens, Annabel Buffet, Eugène Ionesco…
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Freddy Buache, le cinéma (2012)
Character: Self (archive footage)
A documentary film in which Fabrice Aragno assembles a range of footage from the archives of Radio Télévision Suisse, the Cinémathèque suisse and Cinéma en tête by Freddy Buache’s partner Marie-Magdeleine Brumagne.
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Nous sommes tous encore ici (1997)
Character: The Actor
Two housewives discuss philosophical themes (actually an updated dialogue between Plato and Socrates) while doing the house work. The husband of one of them rehearses his part in a theatrical play, reading a 20th century philosophical text about totalitarianism.
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1 P.M. (1971)
Character: Self
Lighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures.
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Belmondo, le magnifique (2017)
Character: Self (archive footage)
With more than 70 films and 160 million cumulative tickets in France, Jean-Paul Belmondo is one of the essential stars of French cinema.
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Soigne ta droite (1987)
Character: Idiot / Prince
This film is made up several sketches in which certain actors play several real or fictional roles to a background of rock music. The lead character, played by Godard himself, is an annoyingly perfectionist film-maker determined to wring every last drop of the finest performance possible from his stars.
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Loin du Vietnam (1967)
Character: Self (segment "Camera Eye")
In seven different parts, Godard, Ivens, Klein, Lelouch, Marker, Resnais, and Varda show their sympathy for the North-Vietnamese army during the Vietnam War.
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Identidade (2026)
Character: Jean-Luc Godard (Imagens de Arquivo)
During a screening of Oedipus Rex in a run-down movie theater in downtown Rio, three peculiar characters—a frustrated projectionist, his intern, and a wandering poet—decide to interrupt the film to discuss the death of cinema. The audience revolts. So does the film.
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Paparazzi (1964)
Character: Self
Paparazzi explores the relationship between Brigitte Bardot and groups of invasive photographers attempting to photograph her while she works on the set of Jean-Luc Godard's film Le Mépris (Contempt). Through video footage of Bardot, interviews with the paparazzi, and still photos of Bardot from magazine covers and elsewhere, director Rozier investigates some of the ramifications of international movie stardom, specifically the loss of privacy to the paparazzi. The film explains the shooting of the film on the island of Capri, and the photographers' valiant, even foolishly dangerous, attempts to get a photograph of Bardot.
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For Ever Mozart (1996)
Character: Man pretending to play soccer (uncredited)
Episodic film that follows a theater troupe from France attempting to put on a play in Sarajevo. Along their journey they are captured and held in a POW camp, and they call for help from their friends and relations in France.
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Après la réconciliation (2000)
Character: Robert
An elderly couple and a younger man and woman follow up failed seduction attempts with conversation about love and the meaning of life.
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Prénom Carmen (1983)
Character: Uncle Jeannot (uncredited)
A woman involved with a terrorist group becomes dangerously close to the police officer guarding the bank they plan to rob.
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Vladimir et Rosa (1971)
Character: Vladimir Lenin (uncredited)
Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.
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L'histoire de "Scénario" (2025)
Character: Self (archive footage)
A final meeting with Jean-Luc Godard. This documentary shows the filmmaker preparing Scénario, his unfinished testamentary film, before closing with a moving scene: the final appearance of a genius driven to the very end by a love of cinema. Consists of Exposé du film annonce du film “Scénario” and Scenarios combined together for TV.
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Anna Karina, souviens-toi (2020)
Character: Self (archive footage) (uncredited)
Major actress of the New Wave, Anna Karina is bound to the great renewal of cinema in the 1960s. Her companion in life, Dennis Berry revisits the story of her memories with Jean-Luc Godard and the great directors she knew, her memorable meeting with Serge Gainsbourg, and also, more recently, her career as a singer. With a gaze halfway between mischief and severity, the New Wave's Danish muse embodied a new feminity – deeply linked with women's liberation.
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A Morte (2024)
Character: Self (voice)
A voice recycles paintings, films, quotes and archives and guides the viewer into a reflection about the cultural and artistic crises in the world.
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À bout de souffle (1960)
Character: The Snitch
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.
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Godard par Godard (2023)
Character: Self (archive footage)
Godard by Godard is an archival self-portrait of Jean-Luc Godard. It retraces the unique and unheard-of path, made up of sudden detours and dramatic returns, of a filmmaker who never looks back on his past, never makes the same film twice, and tirelessly pursues his research, in a truly inexhaustible diversity of inspiration. Through Godard’s words, his gaze and his work, the film tells the story of a life of cinema; that of a man who will always demand a lot of himself and his art, to the point of merging with it.
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Notre musique (2004)
Character: Self
A three-chapter (Hell, Purgatory and Paradise) meditation on the city of Sarajevo in the wake of the Bosnian war, on Palestine and Israel, and on war itself.
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Godard is Here (2023)
Character: Self
The film is a record of interviews of Godard’s films by two young aspiring directors, a Korean and a French, visiting Godard’s studio in 2002. It consists of questions and answers about the way of cinematically thinking, working method, and filmmaking of Godard, who has constantly created a new language for cinema.
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2 ou 3 choses que je sais d'elle (1967)
Character: Narrator (voice)
As the city of Paris and the French people grow in consumer culture, a housewife living in a high-rise apartment with her husband and two children takes to prostitution to help pay the bills.
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Cinématon (1978)
Character: N°106
Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.
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Je vous salue, Sarajevo (1993)
Character: Narrator
A short two-minute rumination on the once volatile situation during the period of the Bosnian War presented in the form of a photo-montage with accompanying text.
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Made in U.S.A (1967)
Character: Richard Politzer (voice) (uncredited)
Paula Nelson goes to Atlantic City to meet her lover, Richard Politzer, but finds him dead and decides to investigate his death. In her hotel room, she meets Typhus, whom she ends up knocking out. His corpse is later found in the apartment of David Goodis, a writer. Paula is arrested and interrogated. From then on, she encounters many gangsters.
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Chambre 666 (1982)
Character: Self
During the 1982 Cannes Film Festival, Wim Wenders asked a number of global film directors to, one at a time, go into a hotel room, turn on the camera, and answer a simple question: "What is the future of cinema?"
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Alain Delon, l'ombre au tableau (2019)
Character: Self (archive footage)
A childhood in boarding school, volunteered at 17 for the war and dismissed for indiscipline, thug in Marseille turned gigolo in Paris, he became actor thanks to some inspired women. Then flying high, fast and far, thanks to his director masters René Clément, Luchino Visconti & Jean-Pierre Melville.
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Le Gai Savoir (1969)
Character: Narrator (voice) (uncredited)
Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions.
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G(ode)ard (2022)
Character: JLG
An experimental tribute to Jean-Luc Godard, his documentary works and his insights in our modern world.
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Moments choisis des Histoire(s) du cinéma (2006)
Character: Self - Filmmaker / Narrator (voice)
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art. (Abridged version of the original collection of eight short films).
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JLG/JLG, autoportrait de décembre (1995)
Character: Self (uncredited)
Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.
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Numéro deux (1975)
Character: Self (uncredited)
Jean-Luc Godard mixes video and film in his Grenoble studio, discussing how he secured funding for the film. The action unfolds on two monitors, as a young working-class couple lives in a claustrophobic, high-rise apartment complex and marital discord is set off by the wife’s infidelity.
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Shéhérazade (1963)
Character: Handwalker
Sheherazade is promised to a powerful Sultan as a gift in exchange for free passage to the Holy Land. When the Sultan's underling saves her from certain death, she falls madly in love with her hero.
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Les enfants jouent à la Russie (1993)
Character: The idiot: Prince Mishkin
A famous French filmmaker is hired by a major Hollywood producer to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.
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Le Soleil dans l’œil (1962)
Character: N/A
A love triangle between 23-year-old Emma (Anna Karina), her older boyfriend (Georges Descrières) and the younger man (Jacques Perrin) she meets while on vacation by herself.
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Letter to Jane: An Investigation About a Still (1974)
Character: Narrator (voice) (uncredited)
The film's subject is a photograph of Jane Fonda visiting Hanoi during the Vietnam War. It asks what the position of the intellectual should be in the class struggle and points out the irony of Jane Fonda's participation in the photo shoot, which was staged.
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Scénarios (2024)
Character: Self
In French, "scénario" is cinema's name for how it tells stories. This is the title Jean-Luc Godard chose for his final film, which was literally completed the day before his self-death. The two segments of this film open with a series of identical sequences. The second segment then diverges and ends on a self-portrait of Jean-Luc Godard -his last images- sitting on his bed, bare-chested, he hides none of the wear on his body in the manner of Pigalle's sculpted portrait of Voltaire. "Scénarios" ends as it began, with a repetition, the figure of eternal return, the moment where time, which has been the great -if not unique- question of cinema, will have ceased to flow.
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Adieu au langage (2014)
Character: Narrator (voice)
The idea is simple / A married woman and a single man meet / They love, they argue, fists fly / A dog strays between town and country / The seasons pass / The man and woman meet again / The dog finds itself between them / The other is in one, / the one is in the other / and they are three / The former husband shatters everything / A second film begins: / the same as the first, / and yet not / From the human race we pass to metaphor / This ends in barking / and a baby's cries / In the meantime, we will have seen people talking of the demise of the dollar, of truth in mathematics and of the death of a robin." - JLG
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Paris nous appartient (1961)
Character: Hans Lucas
A young woman joins a theatrical troupe where she slowly believes that the director is involved with a secret group and that he is in grave danger.
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Charlotte et son Jules (1958)
Character: Jules (voice) (uncredited)
This short features a man who is visited by his ex-lover. The moment she arrives, the man starts his constant barrage of speech; the woman doesn't say much. She just mocks the man and pretends she isn't listening. She pulls faces at him and larks about; while the man is trying his best to get her back in his life, then in the next sentence he says he hates her.
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Vrai faux passeport (2006)
Character: Self - Narrator (voice)
A dense work, citing everyone from Tarantino and Verhoeven to Artaud and Chaplin, made for Godard's exhibition at the Centre Pompidou, Voyage(s) en utopie.
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Les Plus Belles Escroqueries du monde (1964)
Character: Man in Fez / Narrator (segment "Le Grand escroc") (uncredited)
Five swindle stories, taking place in five international cities: Tokyo, Japan ("Fumiko's Five Benefactors" by Hiromichi Horikawa); Amsterdam, The Netherlands ("A River of Diamonds" by Roman Polanski); Naples, Italy ("The Road Map" by Ugo Gregoretti); Paris, France ("The Man Who Sold the Eiffel Tower" by Claude Chabrol); and Marrakesh, Morocco ("The Confidence Man" by Jean-Luc Godard). Godard's segment was not included in the original French cinema release, and Polanski's segment was not included on the 2016 home disc release.
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La rouge et la noire (2011)
Character: Self (archive footage) (voice) (uncredited)
Carrying on Luc Moullets unfinished screenplay about the theft of la pénélope, a camera created by Aaton and capable of recording equally well in 35 mm and digitally, LA ROUGE ET LA NOIRE is a film in kaleidoscope form. The portrait of Aatons founder, Jean-Pierre Beauviala creator, inter alia, of the time-code and the light cameras used by the New Wave (in particular the bush camera specially designed for Jean Rouch) is centered around the basic plot introduced by two women thieves who talk as voice-overs, and whose identities will only be revealed at the end.
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Les Quatre Cents Coups (1959)
Character: (voice)(uncredited)
For young Parisian boy Antoine Doinel, life is one difficult situation after another. Surrounded by inconsiderate adults, including his neglectful parents, Antoine spends his days with his best friend, Rene, trying to plan for a better life. When one of their schemes goes awry, Antoine ends up in trouble with the law, leading to even more conflicts with unsympathetic authority figures.
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Deux de la Vague (2010)
Character: Self (archive footage)
An in-depth analysis of the relationship between New Wave pioneers François Truffaut and Jean-Luc Godard, as seen through rare archival footage, interviews, and film excerpts — written and narrated by former Cahiers du Cinéma editor Antoine de Baecque.
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Le Signe du Lion (1962)
Character: Le Mélomane (uncredited)
An American in Paris lives by sponging off his working friends, and throws a party using borrowed money when his rich American aunt dies, believing firmly in his horoscope.
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Michel Legrand, sans demi-mesure (2018)
Character: Self (archive footage)
This documentary recounts the life of the late composer Michel Legrand, known for his works on Les Parapluies de Cherbourg or Les Demoiselles De Rochefort with the famous director Jacques Demy.
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From Darkness to Light (2025)
Character: Self (archive footage)
Explores Jerry Lewis' unreleased 1972 film "The Day the Clown Cried," its mysterious disappearance, and the search for footage. Includes interviews with Lewis' associates and previously unseen production content.
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L'espion (1966)
Character: Orlovsky's Friend (uncredited)
An American scientist is sent by the CIA to East Germany to retrieve a secret microfilm from a Soviet scientist interested in defecting to the West but the Stasi secret police's surveillance complicates matters.
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La Sonate à Kreutzer (1956)
Character: Ami Journaliste
Some time after marrying a sensual girl, Pozdnychev realizes the only link to his spouse is that of physical love. When a violinist with whom his wife plays regularly the “Sonata to Kreutzer” appears, the young woman blooms in a new passion. From then on, her husband is eaten away by jealousy.
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Duras/Godard (1987)
Character: Self
On December 2, 1987, the filmmaker visited the novelist at her home in Paris. This meeting gave rise to this hour-long documentary in which JLG and Marguerite Duras attempt to establish a dialogue about artistic creation.
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Godard in America (1970)
Character: Self
Spring 1970: Godard and Gorin, on the road, visiting colleges, speaking with Andrew Sarris, and explaining, through illustrated notebooks, their newest Dziga Vertov Group project, a film on Palestine.
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Comment ça va ? (1978)
Character: Union Member (voice)
During the making of a video film about a communist printing press, a union member and a leftist activist discuss how to present their information, especially how to caption two specific images: one of a protest in Portugal, the other of a strike in France. One of them decides to write to his son, a manual worker living outside of Paris with his girlfriend, telling the young man about his troubles.
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Seul Godard (2024)
Character: Self
How do you craft the portrait of Jean-Luc Godard, or better yet a portrait of his methodology, his universe, his way of constructing or deconstructing cinema, that is equal to his own cinematic audacity and genius? How could it be anything other than by taking risks, and trying out equally radical methods, never straying from to his example. The two filmmakers immerse us into the storage warehouse where, in 2010, all the archives kept by Godard in Switzerland were transferred, and they create a doppelganger (or a duplicate) of the director, who takes up the role of our guide into his world. Excerpts from his writings, his images, his perspective in cinema give us a glimpse into his mythology, his techniques, his singular gaze, and therefore also in his worldview.
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Le Vent d'est (1970)
Character: Self (uncredited)
A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.
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King Lear (1988)
Character: Professor Pluggy
A descendant of Shakespeare tries to restore his plays in a world rebuilding itself after the Chernobyl catastrophe obliterates most of human civilization.
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Brunes et Blondes (2010)
Character: Self
Actresses' hairstyle in movies always carries a strong aesthetic statement associated with erotic, social, and historical meanings. In a bold and unexpected way, the film revisits this ultimate symbol of femininity in international cinema.
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Bande à part (1964)
Character: Narrator (voice) (uncredited)
Cinephile slackers Franz and Arthur spend their days mimicking the antiheroes of Hollywood noirs and Westerns while pursuing the lovely Odile. The misfit trio upends convention at every turn, be it through choreographed dances in cafés or frolicsome romps through the Louvre. Eventually, their romantic view of outlaws pushes them to plan their own heist, but their inexperience may send them out in a blaze of glory -- which could be just what they want.
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Godard, seul le cinéma (2023)
Character: Self
Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.
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Reporters (1981)
Character: Self
The co-founder of the Gamma press agency, Raymond Depardon, created this documentary of press photographers in Paris and their subjects by following the photographers around for one month, in October, 1980. In-between long hours waiting for a celebrity to emerge from a restaurant or a hotel, boredom immediately switches to fast action as the cameras click and roll when the person appears. The reaction to the gaggle of photographers is as varied as the people they often literally chase all around town. While some of the celebrities, such as Jacques Chirac who was mayor of Paris at the time, are perceived as comical caricatures, others are shown simply going about ordinary pursuits - including Catherine Deneuve, Gene Kelly, and Jean-Luc Godard.
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Full Metal Kuleshov Effect (2023)
Character: Self
The first of two two Videographic essays with critical reflections on representations of the Vietnam War. “Full Metal Kuleshov Effect,” counterposes the work of Stanley Kubrick with that of Santiago Alvarez and the Vietnamese director Hai Ninh.
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The Staircase Wall (2023)
Character: Self (voice, archive footage)
An experiment in activity, dedicated to Jean-Luc Godard and assembled in the immediate wake of his death on September 13, 2022. The only known footage of Marcel Proust is repeated through a sequence of digital abstractions and accompanied by the music of Gabriel Fauré, followed by video footage shot on iPhone 12 mini between North Carolina and New York City, 2021-2022.
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Khan Khanne, sélection naturelle (2014)
Character: Narrator (voice)
Rather than writing a simple letter to explain his absence from the press conference for his latest Cannes entry, "Goodbye to Language," at the Cannes Film Festival, instead, legendary filmmaker Jean-Luc Godard created a video "Letter in motion to (Cannes president) Gilles Jacob and (artistic director) Thierry Fremaux." The video intercuts from Godard speaking cryptically about his "path" to key scenes from Godard classics such as "Alphaville" and "King Lear" with Burgess Meredith and Molly Ringwald, and quotes poet Jacques Prevert and philosopher Hannah Arendt.
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À vendredi, Robinson (2022)
Character: Self
"We should start with a correspondence, maybe we will not correspond to one another. Ebrahim can send me a letter this Friday, and I'll answer him next Friday. So, see you Friday, Robinson!" And so, Jean-Luc Godard stages himself in his daily thought, wisely desperate, and sends images and words from Switzerland to the other side of the Channel. In his mansion in Sussex, Ebrahim Golestan tries to decode these UFO-messages and skilfully seeks to bring them back to the appearance of reason. And so on, until the day a veil falls over the two Gods on the run. Does the existence of poets still have any meaning in these times of distress?
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Memória Cubana (2010)
Character: Self (archive footage)
Through the files of Cuban cinema news program Noticieros ICAIC Latinoamericanos, the documentary shows the most relevant events of the second half of the 20th century as seen by the documentary filmmakers of the island. During three decades and under the general direction of Santiago Álvarez, these moviemakers witnessed almost everything: from the shivers of the Cold War to Bola de Nieve's piano solos; from the discovery of the killing fields in Cambodia to the Carnation Revolution in Portugal. In 2009, the original negatives of Noticieros ICAIC Latinoamericanos were declared part of the "world memory" by UNESCO.
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Deux fois cinquante ans de cinéma français (1995)
Character: Self (uncredited)
At a lakeside hotel, Michel Piccoli discusses the centennial of cinema with Jean-Luc Godard. Godard asks why should cinema's birthday be celebrated when the history of film is a forgotten subject. Through the remainder of his hotel stay, Piccoli tests Godard's hypothesis.
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A Weekend at the Beach (2015)
Character: Self
Godard to come to the University California, San Diego to give a lecture. He stayed at our house at the beach. Some filmmakers and creatives came to visit him. They all stayed at our house on the beach. Guests were Heiner Müller, Wim Wenders, Martin Milner, Jim Mc Bride, Tom Luddy and other.
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Les cahiers du cinéma, la création d'une empreinte (2021)
Character: Self (archive footage)
1951. André Bazin and Jacques Doniol-Valcroze founded "Cahiers du cinéma". With contributions from self-taught filmmakers (Jean-Luc Godard, François Truffaut, Claude Chabrol, Éric Rohmer, Jacques Rivette...), the magazine revolutionized film criticism and gave birth to the leading figures of the Nouvelle Vague.
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Les fiancés du pont Mac Donald ou (Méfiez-vous des lunettes noires) (1962)
Character: Man with the Black Glasses
A subtitle warns, "beware of dark sunglasses." Anna and her lover, whose looks in bowler and bow tie are reminiscent of a young Buster Keaton, kiss chastely on a bridge overlooking the Seine. He dons sunglasses and waves as she runs down a stairway to the river's edge, then watches in horror as she's knocked flat and loaded into the back of a hearse. In vain, he gives chase. Disconsolate, he buys a large funeral wreath and a handkerchief from sympathetic vendors. He removes the glasses to wipe his eyes and realizes they are the cause of all his woe. He replays the farewell without the glasses.
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Présentation ou Charlotte et son steak (1951)
Character: Walter
On a snowy day in a Swiss village, Walter introduces Charlotte to Clara, hoping to spark jealousy. Later, at Charlotte’s home, tensions rise as they discuss beauty, attraction, and honesty. Despite initial resistance, emotions take over, leading to an unexpected moment of intimacy before their farewell.
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Le Joli Mai (1963)
Character: Self (uncredited)
Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.
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Film catastrophe (2018)
Character: Self
In 2010, Godard's Film Socialisme explores the sinking of political ideals in Europe. In 2012, the Costa Concordia, which had served as an allegorical platform for Godard, sank in front of the cameras of passengers and the world. In 2018, Paul Grivas Film Catastrophe, looks at images of the disaster to revisit the film factory
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Le Château de verre (1950)
Character: Un voyageur qui sort de la Gare de l'Est (uncredited)
Evelyne, a judge's young wife, falls in love with Rémy while vacationing in Italy. Upon returning home, she must decide between telling her husband and continuing to see Rémy.
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Cléo de 5 à 7 (1962)
Character: The Man with Black Glasses / Actor in Silent Film
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.
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Der kleine Godard an das Kuratorium junger deutscher Film (1978)
Character: Guest
The production of a film requires recording equipment and financial resources, if nothing else. Hellmuth Costard places these basic prerequisites at the centre of his film: using a Super 8 camera system he developed, he films himself as he tries to raise funding for his film project. This creates an unconventional experimental setup, which reveals how the economics, politics, technology, and aesthetics of filmmaking relate to each other – with the ‘great’ Godard being called up as a kind of chief witness.
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Le Petit Soldat (1963)
Character: Man at Railway Station (uncredited)
Despite his lack of political convictions, photojournalist Bruno Forestier is roped into a paramilitary group waging a shadow war in Geneva against the Algerian independence movement.
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Le Livre d'image (2018)
Character: Narrator (voice)
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.
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Le Mépris (1963)
Character: Lang's Assistant Director
A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of "The Odyssey," but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.
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Belmondo, il était une fois le beau monde (2011)
Character: Self (archive footage)
A profile of Jean-Paul Belmondo by his peers. Besides appearing in over eighty films, the actor also delighted audiences with his dangerous stunts, his laughter, his jokes, and his refreshing ease and impertinence. Cultivating the art of the counterpunch, he spanned half a century of French cinema.
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Une histoire d'eau (1961)
Character: The Young Man (voice)
A young woman tries to go to Paris, but her garden and the whole village is flooded with water.
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Soy Cuba, o mamute Siberiano (2005)
Character: Self (archive footage)
Contemporary film critics regard the epic film I Am Cuba as a modern masterpiece. The 1964 Cuban/Soviet coproduction marked a watershed moment of cultural collaboration between two nations. Yet the film never found a mass audience, languishing for decades until its reintroduction as a "classic" in the 1990s. Vicente Ferraz explores the strange history of this cinematic tour de force, and the deeper meaning for those who participated in its creation.
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Say God Bye (2023)
Character: Self (JLG)
Fascinated by the already legendary filmmaker, as a teenager Thomas dreamed of becoming his assistant. He wrote to JLG and asked him if he could "look over his shoulder" while he is at work. JLG never answered. Rejected by the master, the teenager must now find his own way as a filmmaker until that day in 2021 when he senses JLG's end is near. Thomas decides to visit the master. On foot. A pilgrimage to pay his (last) respects.His aim is to meet JLG in person. Thomas Imbach dreams of filming not the master, but WITH the master, for which reason d, he has packed his Aaton camera in his backpack. The closer he gets to Lake Geneva, the more intense his emotions, his anxiety, his uncertainty. SAY GOD BYE is the story of an obsession; it is also a story about the universal theme of love. It is the story of a man who finally summons the courage to seek out his beloved, to tell him face to face about his lifelong love and to say, “Thank you, JLG”.
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Marcel Ophuls et Jean-Luc Godard, La rencontre de St-Gervais (2011)
Character: Self
In 2009, in a small theater in Geneva, Switzerland, the film directors Marcel Ophuls and Jean-Luc Godard met for an unusual, surprisngly intimate and sometimes contentious dialogue with each other in front of a live audience. Luckily for us, it was filmed.
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Morceaux de conversations avec Jean-Luc Godard (2009)
Character: Self
In his meetings with various different people, Jean-Luc Godard develops his thinking about history, politics, the cinema, images and time, and this will lead to his exhibition as an artist at the Pompidou Centre. Jean-Luc Godard’s conversations with Dominique Païni, Jean Narboni, André S. Labarthe, Jean-Marie Straub, Danielle Huillet and Christophe Kantcheff were filmed at his home in Rolle, in his study, at the Fresnoy National Studio for the Contemporary Arts (in front of students) and in the exhibition rooms of the Pompidou Centre.
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Chambre 12, Hôtel de Suède (1993)
Character: Self (voice) (archive footage)
Claude Ventura's documentary Chambre 12, Hotel de Suede, was made for the French television channel Arte in 1993. Ventura checks into room twelve in the hotel's final week of operation: it is demolished the day after he checks out. Room twelve was one of the principal locations for Jean-Luc Godard's New Wave masterpiece Breathless, and Ventura's documentary investigates the production of Godard's film.
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Carl Th. Dreyer (1966)
Character: Self (uncredited)
A documentary about the famous Danish film director Carl Th. Dreyer, made a few years before he died. In this film Dreyer tells about the style in his feature films and about the important things in film making: the script and the casting. He tells about his theories about setting and acting.
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France / Tour / Detour / Deux / Enfants (1979)
Character: Robert Linard
In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.
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Meetin' WA (1986)
Character: Self
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.
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Un seul héros le peuple (2026)
Character: Self (archive footage)
Adam Bensoltane takes us through the birth of Algerian cinema, in his native country, across the ages, exploring its evolution and its impact on the nation, politics, and the world.
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Une femme coquette (1955)
Character: The Man Who Looks at the Balcony (uncredited)
Agnès, a bourgeois young woman from Geneva, writes a letter to a friend, telling how she ended up cheating on her husband. Fascinated by the attitudes and gestures adopted by a prostitute to attract clients, Agnès decides to imitate her and seduces the first man she sees, sitting on a garden bench.
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Lettre à Freddy Buache (1983)
Character: Self (uncredited)
This short film is Godard’s message to the people of Lausanne, specifically journalist and critic Freddy Buache, addressing his reasons why he will not make a film about their town’s 500th anniversary. Rather than cynical or defensive, Godard's bemused narration of the footage of Lausanne is imaginative and even playful, a rumination on cinema's possibilities.
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Histoires de festival (2002)
Character: Self (archive footage)
A short film containing some of the highlights of the Cannes Film Festival's storied history.
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Visages, villages (2017)
Character: Self
Director Agnès Varda and photographer/muralist JR journey through rural France and form an unlikely friendship.
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Le Coup du berger (1956)
Character: Party guest (uncredited)
Claire is a chic young Parisian woman married to a somewhat older husband, Jean As the story opens, she leaves her husband playing baroque music at the piano, telling him she is off to see her sister, Solange. In reality she meets her lover, Claude at his apartment; After some idle chatter and love-making he tells her a story of the shriveled heads that the Jivaro Indians used to give their lovers as tokens of affection but, as she shivers in disgust, he gives her a mink instead. How will they hide it from her husband?
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Un metteur en ordre: Robert Bresson (1966)
Character: Self
A documentary, originally produced in 1966 for the French TV series "Pour le plaisir," about Robert Bresson's film "Au Hasard Balthazar," featuring interviews and discussions with Bresson, Jean-Luc Godard, Louis Malle, Marguerite Duras and others.
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Soft and Hard (1985)
Character: Self
Jean-Luc Godard and Anne-Marie Miéville talk about their films, while doing everyday tasks around their house.
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Grandeur et décadence d'un petit commerce de cinéma (1986)
Character: Self (uncredited)
Director Gaspard Bazin is working on a new feature film. For now, he's still looking at the fundraising and casting stage of the process. He calls upon Jean Almereyda, a once-fashionable producer who is now going through a bad patch, finding it increasingly difficult to raise the capital he needs for his ventures. His wife Eurydice dreams of being a movie star. A perverse game between the two men ensues, with Almereyda wanting to please his wife, but reluctant to demand a role for Eurydice because of Bazin's reputation as an incorrigible seducer.
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ORG (1979)
Character: Self (archive footage)
Explores the complex relationship between the spirit, body, and mind. The film is a nightmare with closed eyes because it counts among the most terrible moments of my life, my second exile, which lasted a very long time. Inspired by an ancient Hindu legend.
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Ici et Ailleurs (1976)
Character: Narrator (voice)
Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.
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Bardot, la méprise (2013)
Character: N/A
An intimate portrait of Brigitte Bardot, the great French actress of the 1960s and 1970s who worked with leading directors such as Henri-Georges Clouzot and Jean-Luc Godard. The artist shares her family archives with us.
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Une jeunesse allemande (2015)
Character: Self (archive footage)
At the end of the 1960s the post-war generation began to revolt against their parents. This was a generation disillusioned by anti-communist capitalism and a state apparatus in which they believed they saw fascist tendencies. This generation included journalist Ulrike Meinhof, lawyer Horst Mahler, filmmaker Holger Meins as well as students Gudrun Ensslin and Andreas Baader.
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