Detective (Jean-Luc Godard, 1985)

The trio of films that followed Jean-Luc Godard's return to cinema mirrored, in some cases, his early work. Sauve qui peut (la vie) , Pa...

Hail Mary (Jean-Luc Godard, 1985)

Hail Mary  follows logically from his previous 1980s work even as it marks one of the biggest departures of his always shifting career. The ...

First Name: Carmen (Jean-Luc Godard, 1983)

If Passion juxtaposed a largely aimless narrative with another artform, painting, as a means of offering clues to its solution, First Name:...

Passion (Jean-Luc Godard, 1982)

If Sauve qui peut (la vie) represented Godard’s return to cinema, Passion illustrates how frustrated he still was with the artform and its...

Every Man for Himself (Jean-Luc Godard, 1980)

In a stroke of peevish irony, Jean-Luc Godard's Sauve qui peut (la vie) , touted even by the director as his return to cinema, is a film...

France/Tour/Détour/Deux/Enfants (Jean-Luc Godard & Anne-Marie Miéville, 1976)

In The Man Who Fell to Earth , Bowie's alien offers a sadly poignant insight into the limitations of television, the manner in which he ...

Film Socialisme — First Thoughts

I had planned to hold off on seeing Jean-Luc Godard's latest feature until I had caught up with the director's filmography. However,...

Le Vent d'Est

After the combined weight of British Sounds and Pravda collapsed the last bridge connecting Jean-Luc Godard to his former life, he and the...

Pravda

Pravda is the first film of the Dziga Vertov Group to definitively achieve Jean-Luc Godard's aim to tear down his brand as a marketable...

British Sounds

The Dziga Vertov Group years, both Godard's most contested and largely ignored, take after the anonymity of the collective's ethos b...