After the Reconciliation

An elderly couple and a younger man and woman follow up failed seduction attempts with conversation about love and the meaning of life.

Operation Concrete

Godard returned to Paris briefly before getting a job as a construction worker on a dam project in Switzerland. With the money from the job, he made a short film about the building of the dam called Opération béton (Operation Concrete).

A Letter to Freddy Buache

This short film is Godard’s message to the people of Lausanne, specifically journalist and critic Freddy Buache, addressing his reasons why he will not make a film about their town’s 500th anniversary. Rather than cynical or defensive, Godard's bemused narration of the footage of Lausanne is imaginative and even playful, a rumination on cinema's possibilities.

The Darty Report

A daring deconstruction of consumerist behavior featuring a robot and Miss Clio Darty, with a voiceover by Godard and Anne-Marie Miéville, this philosophical "report," like so many of Godard's commissions, was rejected by its funders.

Chambre 12, Hôtel de Suède

Claude Ventura's documentary Chambre 12, Hotel de Suede, was made for the French television channel Arte in 1993. Ventura checks into room twelve in the hotel's final week of operation: it is demolished the day after he checks out. Room twelve was one of the principal locations for Jean-Luc Godard's New Wave masterpiece Breathless, and Ventura's documentary investigates the production of Godard's film.

Message of Greetings: Prix suisse / My Thanks / Dead or Alive

Jean-Luc Godard's acceptance video for the 2015 'Prix d’honneur'.

Two American Audiences: La Chinoise - A Film in the Making

Jean-Luc Godard visits NYU in order to discuss his latest feature "La chinoise" with graduate students on filmmaking and politics.

Isabella Rossellini - Aus dem Leben eines Schmetterlings

Scénarios

Scénarios, which was completed by Jean-Luc Godard the day before his self-death, is twofold: DNA, fundamental elements, and MRI, Odyssey. Between these two polarities, which evoke genesis and decline in a strictly materialistic way, a story unfolds, made up of a jumble of notes and images, condensed into 18 minutes. It is a narrative haunted by death, as this film is also a farewell.

Sun in Your Eyes

A love triangle between 23-year-old Emma (Anna Karina), her older boyfriend (Georges Descrières) and the younger man (Jacques Perrin) she meets while on vacation by herself.

A German Youth

At the end of the 1960s the post-war generation began to revolt against their parents. This was a generation disillusioned by anti-communist capitalism and a state apparatus in which they believed they saw fascist tendencies. This generation included journalist Ulrike Meinhof, lawyer Horst Mahler, filmmaker Holger Meins as well as students Gudrun Ensslin and Andreas Baader.

A Flirtatious Woman

Agnès, a bourgeois young woman from Geneva, writes a letter to a friend, telling how she ended up cheating on her husband. Fascinated by the attitudes and gestures adopted by a prostitute to attract clients, Agnès decides to imitate her and seduces the first man she sees, sitting on a garden bench.

How's It Going?

During the making of a video film about a communist printing press, a union member and a leftist activist discuss how to present their information, especially how to caption two specific images: one of a protest in Portugal, the other of a strike in France. One of them decides to write to his son, a manual worker living outside of Paris with his girlfriend, telling the young man about his troubles.

We're All Still Here

Two housewives discuss philosophical themes (actually an updated dialogue between Plato and Socrates) while doing the house work. The husband of one of them rehearses his part in a theatrical play, reading a 20th century philosophical text about totalitarianism.

Nouvelle Vague : El cine sin dogmas

Godard on TV: 1960-2000

A compilation of the most spectacular TV moments thanks to the presence and evocation of Jean-Luc Godard on the small screen. Godard's presence has never been, and never will be, anodyne or banal. The subversion of everyday television.