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.
In 1967, during the making of “La Chinoise,” film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.
Patrick, a travel agent in his early 30s, lives with Arthur, an immigration lawyer; but for a long time, Patrick has been sleeping on an air mattress on the floor of their bedroom. His younger brother, Tony, plans to marry his high school sweetheart but is having an affair that is far more satisfying than his relationship with his fiancee. Their older brother, Ryan, is divorced, living at home and working at his parents’ hopelessly unprofitable men’s clothing store. And McCauley soon makes achingly clear that the parents’ marriage is far from happy.
Politically committed to the left, Romain Goupil, born in 1951, is the most eloquent representative of the spirit of the revolution of May 1968. From his first feature in 1982, Mourir à 30 ans (1982) to his latest to date Les mains en l' air (2010), he has managed to remain faithful to his ideals, quite a feat if you think of all of his fellow revolutionaries who have changed sides, lured by money and/or power. His films, whether documentaries or fiction, have failed -with one or two exceptions - to draw large audience but they will remain a mirror of a whole generation.
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