An analysis of the social upheaval of May 1968, made in the immediate wake of the workers’ and students’ protests. The picture consists of two parts, each with with identical image tracks, and differing narration.

"Documentary film on the construction of the Grande-Dixence Dam, and especially the" Concrete "phase (production, routing, pouring, etc.) It is the highest dam in the world, a thousand men are fighting "By joining hands ", connecting every eleven hours for this magnificent monument.The sound of the excavators invades the soundtrack which leaves " more room for daydreaming ." The transport of concrete is done through cables, called "Blondin", in tribute to the famous French tightrope walker. Adrien Porchet turns plans at the end of May 1954. They are wide and distanced shots that never approach the workers. Godard edited the film in October with a lyrical commentary in an austere voice and pastoral music borrowed from Johann Sebastian Bach. He sold his film to the Compagnie de la Grande Dixence in 1955 and even enjoyed a theatrical release in the first part of Thé et Sympathie in 1958. "

Jean-Luc Godard and Anne-Marie Mieville talk about their films, while doing everyday tasks around their house.

本片讲述一个男人和一个女人共同拍摄一部录像电影的故事。 大师戈达尔延续了其以往拍片，怪异的叙事，注重旁白和道具，抽象的风格。虽然没有曲折离奇的故事情节，但戈达尔用特定的道具，特定的场景将其含义充分的表达出来，虽然没有大量的出场人物，但对白精彩，具有深刻的哲理性。有人说戈达尔的电影就是艰难晦涩，自命不凡的同义词，也有人说戈达尔本身就是艺术，看完这部电影，请您也给出您的答案吧。

1983 film directed by Jim McBride

In 1981, after the presidential elections in France, and the arrival of the french socialists in gouvernement, the french TV asks to Godard to make a movie about the idea of change. Godard, finally, made a short movie in which he explains that , between images and power, or politic, there's always some manipulation. Godard compares himself as a french resistant during the WWII, tortured by Gestapo, suffering of lack of freedom with the actual TV. A great short.

By the end 1968, Jean-Luc Godard would make his 18th feature film since his debut in 1960. In addition to this prodigious output—already perhaps the most varied and artistically successful such span in film history—he also produced 8 accomplished short films. All are episodes of omnibus films except one: Film-tract nº 1968, a collaboration with the French painter Gerard Fromanger.

Jean-Luc Godard proposes a diary of his creative process. Looking at photos of three actors, Jacques Dutronc, Isabelle Huppert, and Miou-Miou, who were previously cast to play in "Sauve qui peut (la vie)," Godard speaks about great image makers: Dreyer and Wim Wenders, the painters Edward Hopper and Pierre Bonnard.

1955 film by Jean-Luc Godard

A famous French filmmaker (Jean-Luc Godard) is hired by a major Hollywood producer (László Szabó) to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.

An analysis of the power relations in an ordinary family.

这部短片的片名“自由与故乡”原本是瑞士西南沃州省的官方口号，沃州邻近法国，其首府洛桑是高达和米耶维勒生长和定居的家乡。两位导演受到瑞士文化节的委托拍摄影片，改编一部著名的瑞士传记小说“艾梅帕什，画家从沃州”（查尔斯费迪南德雷默兹，1911），将主角人物画家艾梅帕什前往巴黎学画后返乡的故事，与高达自己的作品与人生经历做类比。片中节选高达之前的影片段落，与画家的生平事件，当代文化指涉，以及高达对60年代和电影的自我嘲讽相互交叠，加上对画家和两位导演都深具影响的瑞士美丽土地的影像，创造出宛如“镜中镜”相互映照的奇特效果。伟大的艺术源自丰富的人生阅历，三位艺术家们彼此的生命记忆交错浮现，化成现实与寓言的精密结晶，创造出丰沛的感染力，短短20分钟的观影经验竟让人如同读完一部精彩无比的长篇小说

2mins

◎ 简　　介： 看点: 拍摄于越战期间，通过5段不同的故事表达出五位导演对当时政局的看法 第一部分的主题是冷漠，楼下一桩抢劫杀人的案正在进行，楼上所有人都熟视无睹。街边发生一起交通事故，没有任何车停下来救人。直到在警察的帮助下一位司机出现，他理所当然地拒绝，但是迫于无奈只好就范，却于中途逃走，故事原来是这样的。 第二部分是一段行为艺术表演。临死的人进行死前最后的忏悔，很有意思，比现在的好多所谓行为艺术好看多了。 第三部分是帕索里尼的贡献：他的最爱演员Ninetto Davoli漫步在大街上，手握着一大扎纸花去见情人。一路走来充满阳光，这个世界的另一些地方却是另一中摸样。 第四部分是戈达尔的“爱”。有两种含义：政治层面的故事聚焦在古巴，有点自我批评的感觉。 第五部分，大学教室里正在上课，一群自称学生会的人闯了进来，声称要改革对文化的压迫，于是辩论展开。 ◎ 关于影片： 意大利/法国1969年五位大师(贝尔托鲁奇、帕索里尼、戈达尔、贝洛奇奥、卡罗里扎尼)联手合导的经典名作，荣获1969年柏林影展提名金熊奖。 导演们的信条，拒绝把电影当作是故事；至少在此说：并不是因为你看多了电影就懂得了“电影”；第七艺术就好比在欧几里德之前的数学；而且导演并没有表示说“新浪潮”就是欧几里德。

This complex allegorical tale tells the story of man’s quest for spiritual meaning. When God enters the body of 1980s filmmaker Simon Donnadieu, his wife Rachel realizes that something has gone awry, but chooses to remain faithful to her erratically-behaving husband.

During a war in an imaginary country, unscrupulous soldiers recruit poor farmers with promises of an easy and happy life. Two of these farmers write to their wives of their exploits.

Jean-Luc Godard brings his firebrand political cinema to the UK, exploring the revolutionary signals in late '60s British society. Constructed as a montage of various disconnected political acts (in line with Godard's then appropriation of Soviet director Dziga Vertov's agitprop techniques), it combines a diverse range of footage, from students discussing The Beatles to the production line at the MG factory in Oxfordshire, burnished with onscreen political sloganeering.

In Godard and Gorin's free interpretation of the Chicago Eight trial, Judge Hoffman becomes Judge Himmler (who doodles notes on Playboy centerfolds), the Chicago Eight become microcosms of French revolutionary society, and Godard and Gorin play Lenin and Karl Rosa, respectively, discussing politics and how to show them through the cinema.