Series & Events
Band of Outsiders
Godard’s nouvelle vague gangster movie starring Anna Karina, Sami Frey, and Claude Brasseur, was long unavailable in the United States before 2001 because of legal problems. In spite of that, the film inspired many American independents, including Hal Hartley and Quentin Tarantino (who named his production company “A Band Apart” after the French title). “A reverie of a gangster movie! Godard re-creates the gangsters and the moll as people in a Paris café, mixing them with Rimbaud, Kafka, Alice in Wonderland.” —Pauline Kael
Cast & Crew
Director: Jean-Luc Godard
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1959, 90 min.
Jean-Paul Belmondo’s pouty-lipped homage to Bogart’s cigarette-smoking prowess, Jean Seberg’s fresh-faced American in Paris hawking International Herald Tribunes on the Champs d’Elysee, Mozart mixed with jazz—every jump cut signaled the beginning of modern cinema and the ascendancy of
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1963, 102 min.
Contempt was Jean-Luc Godard’s chance to make a big-budget film with high-priced stars based on a best-selling novel. At the time, fans feared that the iconoclast who changed the world of cinema with his Breathless and Vivre Sa Vie was in danger of selling out. They needn’t have feared.
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1966, 103 min.
Godard presents his children of Marx and Coca-Cola, a portrait of youth and sex in ’60s Paris, and a society rocked by radical anti-war politics and shaded by American pop culture. Exquisitely funny and bittersweet, Masculine Feminine documents youthful confusion and everyone spends a lot of
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1965, 110 min.
The last romantic couple, Belmondo and Karina, flees Paris for the south of France. He’s a husband on the lam, and she’s a classic pulp fiction gun moll. A musical, a gangster story, “a painting by Velásquez” (Godard), Pierrot unfolds under shimmering sun-drenched Provençal skies, beautifully
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1966, 90 min.
“Is she Marina Vlady or Juliette Janson?” asks the narrating Godard in a conspiratorial whisper. She’s both: an actress in a film and a housewife from the Paris suburbs who turns tricks in the city to make ends meet. “Godard’s color and ‘scope Pop Art quasi-documentary essay—the movie that
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1962, 85 min.
Godard’s poetic treatment of one woman’s slide into the oldest profession in the world stars his then-wife (and muse), the enigmatically lovely Anna Karina. The film opens with a quote by Montaigne: “Lend yourself to others, but give yourself to yourself.” Told in 12 sections, the film charts the
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1967, 105 min.
As motorists casually machine-gun one another over fender-benders, a bourgeois couple sets off for a weekend in the country. A remarkable panning shot captures a very long traffic jam and the introduction to Godard’s Swiftian satire about the collapse of civilization. Savagely funny, mixing porno
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1961, 84 min.
Godard’s first film in color is a widescreen romp—his most buoyant film. Deliriously goofy and melancholy at the same time, the film follows a Zodiac Club stripper (Anna Karina) on a quest for motherhood, first with bicyclist boyfriend Jean-Claude Brialy, then with best friend Jean-Paul Belmondo.
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