Godard

Director Jean-Luc Godard, the godfather of France's New Wave cinema, died on Tuesday aged 91, newspaper Liberation and other French media said, ...

In December 2007 he was honoured by the European Film Academy with a lifetime achievement award. He used the pay to finance his first complete film in 1954, Operation Concrete, a 20-minute documentary about the building of the dam. It came out a year before popular anger at the establishment shook France, culminating in the iconic student unrest of May 1968. The marriage to Karina ended in 1965. It was ironic that he himself revered the Hollywood studio film-making system, as perhaps no other director inspired as many people to just pick up a camera and start shooting... His father was a doctor, his mother the daughter of a Swiss man who founded Banque Paribas, then an illustrious investment bank.

«Le cinéaste Jean-Luc Godard est décédé le 13 septembre 2022, annoncent son épouse Anne-Marie Miéville et ses producteurs. Aucune cérémonie officielle n'aura ...

Mais jusqu’à sa mort, «JLG», dont les films et déclarations se feront de plus en plus indéchiffrables avec les années, n’a jamais cherché à faire l’unanimité. «Godard est le plus grand cinéaste du monde», n’hésitait pas à dire ce dernier. C’est par ce dernier film que Godard, critique aux Cahiers du cinéma né à Paris le 3 décembre 1930, s’est fait connaître. «Aucune cérémonie officielle n’aura lieu», a-t-elle précisé, pour celui qui fuyait les honneurs. Il sera incinéré», a annoncé son épouse, la réalisatrice Anne-Marie Miéville, dans un communiqué. «Ce fut comme une apparition dans le cinéma français.

Le cinéaste franco-suisse Jean-Luc Godard est mort mardi à l'âge de 91 ans, emportant avec lui un pan de l'histoire du 7e art.

Mais jusqu'à sa mort, «JLG», dont les films et déclarations se feront de plus en plus indéchiffrables avec les années, n'a jamais cherché à faire l'unanimité. «Godard est le plus grand cinéaste du monde», n'hésitait pas à dire ce dernier. C'est par ce dernier film que Godard, critique aux Cahiers du cinéma né à Paris le 3 décembre 1930, s'est fait connaître. «Aucune cérémonie officielle n'aura lieu», a-t-elle précisé, pour celui qui fuyait les honneurs. Il sera incinéré», a annoncé son épouse, la réalisatrice Anne-Marie Miéville, dans un communiqué. «Ce fut comme une apparition dans le cinéma français.

Godard's political ardour fuelled by the May 68 upheaval in France led to the shutting down of the 1968 Cannes Film Festival in solidarity with the students ...

His political ardour, fuelled by the May ‘68 upheavals in France, would culminate in protest, co-organised by François Truffaut, that shut down the 1968 Cannes Film Festival in solidarity with the students and workers. Being an avid reader of existential and Marxist philosophy, the intellectual penchants resound in his moving images that often touch upon socio-political issues. He threw down the gauntlet to mainstream French cinema's “Tradition of Quality”, which enshrined established convention rather than innovation and experimentation.

The Franco-Swiss filmmaker and provocateur radically rethought motion pictures and left a lasting influence on the medium.

Mr. He and Mr. “To me Godard did to movies what Bob Dylan did to music,” Mr. Karina in 1987, Mr. Godard joined with Mr. In “Alphaville” (1965), Mr. Godard developed the outline of “Breathless” in 1959, inspired by a newspaper clipping given to him by Mr. Truffaut, Mr. Rohmer and Mr. For Mr. A decade later, Mr. As a young critic in the 1950s, Mr.

When a figure as titanic as Jean-Luc Godard dies in the middle of a film festival like Toronto, it feels like the world should just stop.

They’re too old to kick their legs up the way they did, but they dance with abandon and good cheer, in a way the real Varda and Godard never got to. [break into a dance called the Madison](https://www.youtube.com/watch?v=61H_xl9dzgI). Faces Places didn’t turn out to be Varda’s final film—that ended up being 2019’s Varda by Agnès, a sort of self-curated retrospective of a career that only received its proper reverence in her last years—but it has the feeling of one, not least because one of its subjects is how Varda’s failing eyesight makes it increasingly difficult to make movies. The two were early allies, although Varda made her first movie while Godard was still an aspiring critic, and Godard appears in a film within Varda’s breakthrough feature, 1962’s Cleo From 5 to 7, starring in a short silent-film pastiche which the movie’s protagonist watches during the titular timespan. [Agnès Varda](https://slate.com/culture/2017/11/oscars-honoree-agnes-varda-is-a-documentary-giant.html) and [Documentary Now!](https://slate.com/culture/2019/02/documentary-now-season-3-review-cate-blanchett-bill-hader.html), the news that the latter would be devoting an episode to parodying the former took me to the happiest of places. [pointed out Tuesday morning](https://twitter.com/cameron_tiff/status/1569655393399209984) after the news broke, Godard had hardened into such an anti-sentimental crank that he might have taken an outpouring of flowery postmortem sentiment as an affront.

Parmi les dizaines de films de Jean-Luc Godard, trois sont entrés dans l'histoire du cinéma, tous tournés dans les années 60: À bout de souffle, ...

C’est le sixième film de «JLG» et son plus grand succès. Il ajoute au film une séquence devenue iconique, où Bardot, allongée nue sur un lit, interroge Piccoli: «Et mes fesses, tu les aimes mes fesses ?» Durant le tournage, «BB» est harcelée par les paparazzi. Godard aura lui l’Ours d’argent au Festival de Berlin la même année. Mais c’est tellement contraire aux manières d’Hollywood que je deviens naturelle», avait résumé Jean Seberg, vedette, avec Jean-Paul Belmondo, de ce film, étendard de la Nouvelle Vague. Il raconte l’itinéraire d’un voyou qui, après avoir volé une voiture et tué un policier, est traqué par la police.

Godard revolutionized popular cinema in 1960 with his debut feature “Breathless” and stood for years as one of the world's most vital and provocative ...

Godard also launched what was to be a career-long participation in collective film projects, contributing scenes to “The Seven Deadly Sins” along with directors such as Claude Chabrol and Roger Vadim. He used the pay to finance his first complete film, the 1954 “Operation Concrete,” a 20-minute documentary about the building of the dam. He later started a relationship with Swiss filmmaker Anne-Marie Miéville. Godard and Karina divorced in 1965. Godard married his second wife, Anne Wiazemsky, in 1967. It came out a year before popular anger at the establishment shook France, culminating in the iconic but short-lived student unrests of May 1968. He profiled the early Rolling Stones, gave a voice to Marxist, leftist and 1960s-era Black Power politics, and his controversial modern nativity play “Hail Mary” grabbed headlines when Pope John Paul II denounced it in 1985. Godard married Danish-born model and actress Anna Karina in 1961. Godard divorced Wiazemsky in 1979, after he had moved with Miéville to the Swiss municipality of Rolle, where he lived with her for the rest of his life. His work turned more starkly political by the late 1960s. By 1952 he had begun writing for the prestigious movie magazine Cahiers du Cinema. Godard rejected conventional narrative style and instead used frequent jump-cuts that mingled philosophical discussions with action scenes.

The Franco-Swiss filmmaker and provocateur radically rethought motion pictures and left a lasting influence on the medium.

He and his friend Truffaut got into a spat after the release of Truffaut’s “Day for Night” in 1973 and never reconciled before “To me Godard did to movies what Bob Dylan did to music,” Mr. In 1988, he began one of his most ambitious projects, a seven-part series on the history of film, “Histoire(s) du Cinéma,” which he completed in 1998. After a pair of aggressively didactic films, “Un Film Comme les Autres” (1968) and “Le Gai Savoir” (1969), and an abortive project with the Rolling Stones, released against Mr. In “Alphaville” (1965), Mr. Godard directed a candy-colored, wide-screen homage to the Hollywood musical “A Woman Is a Woman” (1961), starring Ms. Belmondo’s central character in “Breathless,” a petty criminal who himself identified with the doomed romanticism of the characters played by Humphrey Bogart in the American films that Mr. And covering a 2000 revival screening of “Breathless,” the essayist and novelist Philip Lopate said he felt as exhilarated by the film as when he first saw it 40 years before. Godard developed the outline of “Breathless” in 1959, inspired by a newspaper clipping given to him by Truffaut. Godard remained best known for “Breathless” and about a dozen films he made in quick succession afterward, ending with “Weekend” in 1967.University audiences identified with the doomed romanticism of Mr. Godard once observed, “A film consists of a beginning, a middle and an end, though not necessarily in that order.” As a young critic in the 1950s, Mr.

Parmi les dizaines de films de Jean-Luc Godard, trois sont entrés dans l'histoire du cinéma, tous tournés dans les années 60: À bout de souffle, ...

C’est le sixième film de «JLG» et son plus grand succès. Il ajoute au film une séquence devenue iconique, où Bardot, allongée nue sur un lit, interroge Piccoli: «Et mes fesses, tu les aimes mes fesses ?» Durant le tournage, «BB» est harcelée par les paparazzi. Godard aura lui l’Ours d’argent au Festival de Berlin la même année. Mais c’est tellement contraire aux manières d’Hollywood que je deviens naturelle», avait résumé Jean Seberg, vedette, avec Jean-Paul Belmondo, de ce film, étendard de la Nouvelle Vague. Il raconte l’itinéraire d’un voyou qui, après avoir volé une voiture et tué un policier, est traqué par la police.

The master stylist and provocateur behind 'Breathless,' 'Alphaville,' and 'Goodbye to Language' broke every cinematic rule he could find for six decades.

His first feature as a director, 1960’s Breathless, has the energy of a young genius braying, “don’t tell me what to do!” in the face of decades of film “rules.” Shooting quickly and with a low budget, rather than try to hide edits that don’t quite match (typically the mark of a “mistake”), Godard leaned into it with noticeable jump cuts, giving his film about lovers and criminals a jazzy, unpredictable feel. Of this wave, no one’s work felt more “new” than Godard’s. Jean-Luc Godard, the Franco-Swiss film critic turned director and lynchpin of the French New Wave, has died.

After Fifty years of pedestrian writing, Vidyarthy Chatterjee wrote his first book and he had sent it across by courier to Switzerland,only to hear back from ...

I hope you will have the time and the energy to go through the book which relates to three long docu- fiction ‘acts’ to do with both the visible md hidden life of a great, dark city and its people in various states of hope md the lack of it. Please be good enough to accept my book — my first book written at age 74, as a humble gift from a long-time admirer of your phenomenal output of films and other interventions on behalf of the wretched of the earth. Allow me to say that the documents trilogy by the Calcutta documentarist, Joshy Joseph, perhaps needs to be seen to enter the book.

The radical filmmaker upended conventions with art-house classics like "Breathless" and "Alphaville."

He started out as a critic at the 1950s. In recent years, Godard continued to work steadily, exploring the new possibilities of digital technology in artistically rigorous works like "Film Socialisme" (2010), "Goodbye to Language" (2014) and "The Image Book" (2018). Jean-Luc Godard, the iconoclastic and stylistically adventurous filmmaking giant who rose to prominence as part of the French New Wave movement in the 1960s, has died.

Jean-Luc Godard was a prophet of film's future as an art form, layering images and sound that the body could sink into and the mind could puzzle through.

At one point, they appear next to a red car and I flashed on all the cars and colors in his movies. The reason I fell in love with his 1966 film “Masculin Féminin” when I first saw it wasn’t because he described his characters as “the children of Marx and Coca-Cola” — I fell in love because I too was young and it was beautiful and it broke my heart. Varda was a woman in a man’s world and she learned how to work the room, a habit — and burden — that wasn’t necessary for Godard, the onetime enfant terrible, the former bad-boy genius of cinema who faded into a caricature of himself, almost Lear-like: “A poor, infirm, weak and despised old man.” Godard played with that image of the gruff, cranky, cigar-chomping guru of cinema’s past while in reality he remained a prophet for its still-unrealized future. He insisted that we come to him, that we navigate the densities of his thought, decipher his epigrams and learn a new language: his. One of the things I find most moving about Godard is that even as movies changed, he did, too. Watching it at Cannes, where attendees cheered and nearly levitated out of their seats, remains one of the great experiences of my moviegoing life. It invited us in with a smile and instructed us to enjoy the show, and then come back for more of the same the next week. As he pushed and pulled, he challenged viewers and occasionally assaulted them. An early exposure to avant-garde cinema helped me in this simply because by the time I started digging into Godard’s work, I already knew that movies didn’t necessarily have to be obvious. He was a phantom of cinema long before his death, and he will haunt us. What I also didn’t understand is that I had just watched another way of making — and seeing — film. And now that he’s gone it feels impossible to articulate the immensity of his impact on cinema, an art that he changed more than most.

Godard defied convention over a long career that began in the 1950s as a film critic, revolutionized popular cinema in 1960 and stood as one of the world's ...

He used the pay to finance his first complete film, the 1954 “Operation Concrete,” a 20-minute documentary about the building of the dam. “There’s a bit of Godard in nearly all films today,” said Frederic Maire, president of the Swiss Cinematheque. Godard also launched what was to be a career-long participation in collective film projects, contributing scenes to “The Seven Deadly Sins” along with directors such as Claude Chabrol and Roger Vadim. It came out a year before popular anger at the establishment shook France, culminating in the iconic but short-lived student unrest of May 1968. Godard and Karina divorced in 1965. Godard married his second wife, Anne Wiazemsky, in 1967. Godard married Danish-born model and actress Anna Karina in 1961. The impact was immediate – “Breathless” arrived like a cinematic thunderclap when it was released in 1960 – and lasting. He spiced it all up with references to Hollywood gangster movies and nods to literature and visual art. His work turned more starkly political by the late 1960s. The statement gave assisted suicide, which is legal in Switzerland, as the cause of death. By 1952 he had begun writing for the prestigious movie magazine Cahiers du Cinema.

Agitateur de la Nouvelle Vague, il a dynamité les codes du cinéma avec des films résolument novateurs, d'À bout de souffle à Sauve qui peut (la vie) : le ...

Mais jusqu’à sa mort, « JLG », dont les films et déclarations se feront de plus en plus indéchiffrables avec les années, n’a jamais cherché à faire l’unanimité. « Godard est le plus grand cinéaste du monde », n’hésitait pas à dire ce dernier. C’est par ce dernier film que Godard, critique aux Cahiers du cinéma né à Paris le 3 décembre 1930, s’est fait connaître. Avec sa mort, un chapitre de l’histoire du cinéma se clôt, aux plans inoubliables : Bardot nue sur un lit, susurrant « Tu les aimes mes fesses ? Depuis sa 1ère apparition au Festival dans Cleo de 5 à 7 en 1962, 21 films de Jean-Luc Godard ont été projetés à Cannes. "Le cinéma n'est pas à l'abri du temps.

The French director did more than transform the aesthetic and the practice of filmmaking—he turned the cinema into the central art form of his time.

To the end of his life, he was still fighting his way up and in, even from the heights of cinematic history that he had scaled. The awe-inspiring example of his films has converged with his personal practice to enter the DNA of today’s cinema. (I interviewed Godard’s longtime cinematographer Raoul Coutard, who called the town Rollywood.) Godard made his domestic activities and local observations converge with the history of the cinema and the grand-scale politics of his era. At the restaurant where we ate, he was voluble, and his conversation was wide-ranging, embracing Shakespeare (we discussed “Coriolanus”) and “Schindler’s List,” the Second World War and the later films of classic Hollywood directors and aspects of his own youth (such as his avoidance of military service both in France and in Switzerland), and he talked of food (the coffee and the local fish), and made winking fun of the shirt that a man at another table was wearing. There was no legend to look up to, no dominant figure to inspire or overawe; I naïvely but sincerely saw the film face to face, so to speak, and saw him in it the same way, as a filmmaker virtually addressing his audience, across the decades, in real time. And, as prolific as he was during his first flush of artistic fervor, he was even more so at the time of his return—though he made fewer features (“only” eighteen from 1980 onward), he also created video essays, including the monumental “Histoire(s) du Cinéma,” that were crucibles, epilogues, and living notebooks for his features. He sought a culture of his own, and, with his largely autodidactic passion for movies, he found one that was resolutely modern—and that, with his intellectual fervor, he helped raise to equality with the classics. Godard was raised in bourgeois comfort and propriety—his father was a doctor, his mother was a medical assistant and the scion of a major banking family—and his artistic interests were encouraged, but his voyage into the cinema was a self-conscious revolt against his cultural heritage. At twenty-one, Godard published a theoretical treatise in Cahiers, “Defense and Illustration of Classical Construction,” which is one of the great manifestos of rigorously reasoned artistic freedom; at twenty-five, he wrote an instant-classic essay on film editing, or “montage,” a word that came to define his career. What he retained to the very end of his career (his final feature, “ [The Image Book](https://www.newyorker.com/culture/the-front-row/the-image-book-reviewed-jean-luc-godard-confronts-cinemas-depiction-of-the-arab-world),” was released in 2018) was his sense of youth and his love of adventure. [to Bob Dylan’s](https://www.newyorker.com/culture/richard-brody/bob-dylan-in-correspondence).) Yet, like many artistic heroes of the sixties, Godard found that his public image and his private life, his fame and his ambitions, came into conflict. But it wasn’t just the news that made his films feel like the embodiment of their times—it was Godard’s insolence, his defiance, his derisive humor, his sense of freedom.

Le cinéaste Jean-Luc Godard est mort aujourd'hui à l'âge de 91 ans. Figure de la Nouvelle Vague ayant soutenu et accompagné les grandes luttes ...

Se faisant l’écho dans ses films de la radicalité qui a parcouru les « années 1968 » et 1970, Godard a gardé jusqu’à la fin de sa carrière cet esprit de subversion et de provocation. En mai 1968, Godard participe à faire annuler le Festival de Cannes en solidarité avec les travailleurs et les étudiants. Avec Godard s’éteint la dernière figure de ce courant qui a révolutionné d’un point de vue technique, cinématographique et narratif le cinéma.

Agitateur de la Nouvelle Vague, il a dynamité les codes du cinéma avec des films résolument novateurs, d'À bout de souffle à Sauve qui peut (la vie): le ...

Mais jusqu’à sa mort, «JLG», dont les films et déclarations se feront de plus en plus indéchiffrables avec les années, n’a jamais cherché à faire l’unanimité. «Godard est le plus grand cinéaste du monde», n’hésitait pas à dire ce dernier. C’est par ce dernier film que Godard, critique aux Cahiers du cinéma né à Paris le 3 décembre 1930, s’est fait connaître. Provocateur né, Godard était aussi une figure importante, mais inclassable pour la gauche. Sa compagne de longue date, la réalisatrice Anne-Marie Miéville, habite à quelques encablures. Il sera incinéré», a annoncé son épouse, la réalisatrice Anne-Marie Miéville, dans un communiqué. «Aucune cérémonie officielle n’aura lieu», a-t-elle précisé, pour celui qui fuyait les honneurs. «L’Helvète anarchiste», selon les termes des organisateurs du Festival de Cannes qu’il contribue à faire annuler en mai 1968, était à la même époque «le plus con des Suisses pro-Chinois» pour les situationnistes. «Ce fut comme une apparition dans le cinéma français. En 2018, le Festival de Cannes lui délivrait une Palme d’or «spéciale» pour Le livre d’image, un prix qu’il n’était bien entendu par venu chercher, pas plus que son prix du Jury en 2014 pour Adieu au langage. «Et Godard créa le Mépris et c’est à bout de souffle qu’il a rejoint le firmament des derniers grands créateurs d’étoiles...» a réagi Brigitte Bardot sur Twitter, avec une photo d’elle, enlaçant le cinéaste. Avec sa mort, un chapitre de l’histoire du cinéma se clôt, aux plans inoubliables: Bardot nue sur un lit, susurrant «Tu les aimes mes fesses ?» (Le mépris), Belmondo le visage barbouillé de bleu, bardé de dynamite (Pierrot le fou), Jean Seberg et son New York Herald Tribune vendu à la criée sur les Champs-Elysées (À bout de souffle)...

D'Emmanuel Macron à Alain Delon et Brigitte Bardot, responsables politiques, grands festivals de cinéma et artistes ont rendu hommage au « maître » Jean-Luc ...

« Jean-Luc Godard, monument de la nouvelle vague, cinéaste aux mille vies, a transformé pour toujours la manière de raconter des histoires. L’enfant terrible du cinéma est parti mais nous laisse en héritage des chefs-d’œuvre qu’il a érigés en légende. L’un des réalisateurs les plus iconiques laisse une œuvre prolifique qui aura marqué durablement le 7ème art et l’histoire de notre institution. Jean-Luc Godard est décédé ce mardi 13 septembre à l’âge de 91 ans. J’ai beaucoup appris de mes copies d’À bout de souffle en cassettes VHS… Jean-Luc Godard laisse derrière lui 100 films dont presque tout autant de chefs d'oeuvre en 60 ans de carrière. Nous perdons un trésor national, un regard de génie.— Emmanuel Macron (@EmmanuelMacron) Depuis sa 1ère apparition au Festival dans Cleo de 5 à 7 en 1962, 21 films de Jean-Luc Godard ont été projetés à Cannes. En avance sur son temps, il a joué avec les mots, les images et les couleurs. Depuis sa première apparition au Festival dans Cléo de 5 à 7 en 1962, 21 films de Jean-Luc Godard ont été projetés à Cannes. « Une page de l’histoire du cinéma se tourne… Nous perdons un trésor national, un regard de génie.

Jean-Luc Godard, a leading figure of the French New Wave, has died. He was 91.

Godard continued to work prolifically in his later years and enjoyed what many described as a late-career renaissance in the early 2000s starting with In Praise of Love (2001), which screened at Cannes followed by Film Socialisme (2010). His most recent film The Image Book (2018) played in competition at Cannes and picked up the special Palme d’Or. [Jean-Luc Godard](https://deadline.com/tag/jean-luc-godard/), a leading figure of the [French New Wave](https://deadline.com/tag/french-new-wave/), has died. The former Culture Minister of France, Jack Lang, told France Info radio this morning that Godard was “Unique, absolutely unique… Godard is best known for his seminal work of the 1960s, including Le mépris (Contempt), starring Brigitte Bardot, and Le Petit Soldat, which was banned until 1963, and starred the director’s future wife, Anna Karina. [Breathless](https://deadline.com/tag/breathless/) (À bout de souffle), which catapulted him onto the world scene in 1960.

Jean-Luc Godard a fait un court séjour en Abitibi afin de tenter une expérience de télévision engagée dans une station locale de Rouyn-Noranda.

Ça fait écho à ce qui se passe présentement à Rouyn-Noranda avec la prise de parole citoyenne sur la qualité de l’air. Mais une fois rendu à Rouyn-Noranda, Godard a plutôt choisi de donner la parole à des travailleurs miniers et des étudiants et c’est devenu davantage une expérience militante que le passage glamour d’un grand cinéaste européen en Abitibi. Le réalisateur d’À bout de souffle avait entendu dire qu’une station privée de Rouyn-Noranda était prête à l’accueillir.

The titan of French film has died, aged 91. His was a career of immense creativity, which redefined the grammar of cinema.

His response: “to become immortal…and then die”. But the intellect as sharp as ever. Quentin Tarantino called his production house A Band Apart in homage to Godard’s 1964 film Bande à part. The hands frail. As a young man, Godard had tremendous reverence for the American studio system. That’s why the American cinema is so bad now. He’d leave in mistakes – like actors forgetting their lines – to remind viewers that all cinema was essentially fake. He dabbled with anthropology as a student, but his great love was cinema, and in particular American B-movies directed by Fritz Lang, Nicholas Ray and his idol Howard Hawks. The voice was raspy. Conventional, “invisible” editing was replaced by abrupt jump cuts; smooth long shots alternated with unsettling montages and rapid close-ups; characters broke the fourth wall and directly addressed the audience. [Agnès Varda, a pioneering artist who saw the extraordinary in the ordinary](https://theconversation.com/agnes-varda-a-pioneering-artist-who-saw-the-extraordinary-in-the-ordinary-115437) [From Nazis to Netflix, the controversies and contradictions of Cannes](https://theconversation.com/from-nazis-to-netflix-the-controversies-and-contradictions-of-cannes-77655)

« In Godard, there's God ! » La formule du modérateur de la conférence de presse de Jean-Luc Godard en avait fait soupirer plus d'un par son enflure, ...

Depuis les années 1990, son travail, de plus en plus expérimental et hermétique (avec notamment sa compagne de longue date, la cinéaste Anne-Marie Miéville), n’est plus suivi que par une poignée d’irréductibles. C’est aussi à lui qu’il confie, en 1965, le rôle principal de son chef-d’œuvre Pierrot le fou, rocambolesque histoire d’amour mettant aussi en vedette sa compagne et muse Anna Karina (avec qui Godard vivra une rupture houleuse la même année). », demande le personnage de Jean Seberg à un écrivain incarné par le grand cinéaste Jean-Pierre Melville dans À bout de souffle. C’est à la suite des évènements de Mai 68 que Godard rompt avec son « grand frère » Truffaut. Godard, qui avait un petit rôle dans Cléo de 5 à 7, ne lui ouvre même pas la porte. En 1963, Godard tourne à Capri Le mépris, avec Michel Piccoli et Brigitte Bardot, dans son rôle le plus marquant. « C’est le plus grand terroriste du cinéma », disait avec admiration le documentariste Mark Cousins (The Story of Film). Je me souviens encore des grimaces des festivaliers, découvrant sans avertissement les images de cinq hommes pendus à un arbre et d’un autre qui urine dans la bouche d’une fille… » La formule du modérateur de la conférence de presse de Jean-Luc Godard en avait fait soupirer plus d’un par son enflure, sa déférence et son obséquiosité, il y a une vingtaine d’années, au Festival de Cannes. Avec Jean Seberg et Jean-Paul Belmondo, mort il y a un an presque jour pour jour, Godard tourne son premier long métrage, À bout de souffle, d’après un scénario de François Truffaut. Né le 3 décembre 1930 à Paris, dans un milieu bourgeois, puis élevé entre la France et la Suisse, Jean-Luc Godard connaît une jeunesse difficile, trouve refuge dans le sport, et vient tard à la cinéphilie. Le cinéaste franco-suisse, qui s’est éteint mardi à l’âge de 91 ans, a eu recours à l’assistance au suicide, légale en Suisse.