Jean-Luc Godard

A silent, surreal parallel between a couple and a dog.

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.

The passengers on a Mediterranean cruise enjoy their luxuries as a small family struggles with overbearing media attention.

A romance between young Parisians, shown through a series of vignettes.

An author works on a project on the subject of love, and, in the process, crosses paths with a former love in his life.

A filmic essay on class struggle which draws on images from westerns but has no plot and is both an experiment in making a revolutionary film and an interrogation of how successfully such a film can be revolutionary.

Two crooks with a fondness for old Hollywood B-movies convince a languages student to help them commit a robbery.

An indictment of modern times divided into three "kingdoms": "Enfer" ("Hell"), "Purgatoire" ("Purgatory") and "Paradis" ("Paradise").

A descendant of Shakespeare tries to restore his plays in a world rebuilding itself after the Chernobyl catastrophe obliterates most of human civilization.

Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.

A surreal tale of a married couple going on a road trip to visit the wife's parents with the intention of killing them for the inheritance.

The movie incorporates footage of fedayeens taken for an aborted pro-Palestinian film which had been abandoned when subjects were killed. Here and Elsewhere takes its name from the footage it shows of the fedayeens and of a French family.

How do we learn? What do we know? 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. In addition to the two characters' musings, the soundtrack includes narration, music, news clips, and noise. The result is a montage, a meditation, a reflection on ideas and how words and images mix - and how filmmaking is a path.

A small-time crook, hunted by the authorities for a car theft and the murder of a police officer, attempts to persuade a hip American journalism student to run away with him to Italy.

Godard examines the structure of movies, relationships and revolutions through the life of a couple in Paris.

A woman involved with a terrorist group becomes dangerously close to the police officer guarding the bank they plan to rob.

An exotic dancer is desperate to become a mother and accepts her reluctant boyfriend's suggestion that she be impregnated by his best friend.

Romance about Simon Donnadieu and his decision to leave his ever-loving wife Rachel.

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.

An agent wrecks the main computer on another planet.

An examination of the daily routine at a British auto factory assembly line, set against class-conflict and The Communist Manifesto.

An examination of sexual relationships, in which three protagonists interact in different combinations.

A French writer's marriage deteriorates while working on Fritz Lang's version of "The Odyssey", as his wife accuses him of using her to court favor with the film's brash American producer.

Letter to Jane (1972) is a postscript film to Tout va bien directed by Jean-Luc Godard and Jean-Pierre Gorin and made under the auspices of the Dziga Vertov Group. Narrated in a back-and-forth style by both Godard and Gorin, the film serves as a 52-minute cinematic essay that deconstructs a single news photograph of Jane Fonda in Vietnam. This was Godard and Gorin's final collaboration.

Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract need for guidance of Germany following the fall of the Berlin Wall.