Gérard Martin

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

Jacques Belin, presenter of a silly TV show, gets drunk after receiving an award and misses the train bringing his TV-soap-star fiancée. He meets up with Frède, just out of prison after a three year sentence and, in between numerous arguments and Jacques' break-up with his girlfriend, the two of them get drunker together, going across Paris in search of more alcohol and adventure.

While two theater groups rehearse plays by Aeschylus, two solitary individuals wander the Parisian streets hustling the populace for cash.

"Le roman d'un truqueur" mixes the story of a fictional investigation with the reality of its filming by the author, in a spirit of humor, self-mockery and pastiche. After having unscrupulously infiltrated the action, the producer, confusing fiction and reality, tries to hijack the investigation for his own benefit. Entangled in their investigation, but true to their role, the actors thwart the producer's schemes and then look for a financing solution themselves to bring the film to a successful conclusion.

15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.