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I think it's pretty safe to say that Jean-Luc Godard was a bit of a selfish arse, and Louis Garrel captures that really quite effectively here. The film is set in 1967 when French society was being rocked by political upheaval, student demonstrations and where President De Gaulle was at his most unpopular. The thirty-six year old Godard was already an household name and had fallen for his young starlet Anne Wiazemsky (Stacey Martin) who could have been his daughter, and they marry. She adores him - his reputation, his vision, his passion whilst he loves the fact that she is young, beautiful and can be fairly easily twisted around his little finger. As the filming of his film "La Chinoise" proceeds, though, we discover that this relationship might not be much more than puddle deep and his constant search to remain relevant in an ever changing and increasingly hostile environment is taking it's toll on his temperament and his popularity. Many begin to suspect that his latest film - extolling the virtues of ultra-socialism as espoused by Mao is but a gimmick to keep him germane, but it's when his wife gets the chance to travel to Rome to work with Bertolucci and things start to unravel. She starts to open her own eyes to the failings in both herself and her husband - and it looks like a bit of chop and change is in the wind. Garrel does his best here to illustrate a man who is eccentric and quirky, capable of humour and jealousy but who struggles to see beyond the end of his own nose. Director Michel Hazanavicius was never going to be able to encapsulate all the vagaries of this man here, but he does allow his lead actors to develop plausible aspects of their personalities and we can fill in some gaps, make the odd gasp, and wonder why anyone would ever want to be associated with this fairly introspective film-making genius in the first place. The production itself is slightly stylised to mimic some of Godard's original techniques - the odd reverse exposure, bad continuity, jump cuts - but I'm not sure they were really necessary to remind us of the character we were following. You could probably do a mini-series on Godard and still not get it all in and/or right - this has a good try, though.
Bohemian Alex Morrison has just finished directing his first feature length movie. In its previews, the movie is considered a critical, artistic and surefire commercial success. As such, Alex seemingly has his choice of what his next project will be. As he makes the rounds both in the Hollywood community and European movie centers for ideas, he fantasizes about movie scenarios of those everyday situations he is in.
The protagonist is Carmen X, a sexy female member of a terrorist gang. She asks her uncle Jean, a washed-up film director if she can borrow his beachside house to make a film with some friends, but they are in fact planning to rob a bank. During the robbery she falls in love with a security guard. The film intercuts between Carmen's escape with the guard, her uncle's attempt to make a comeback film, and a string quartet attempting to perform Beethoven.
A college student gets pregnant without having intercourse, affecting people close and unrelated to her in different ways.
Paul, a young idealist trying to figure out what he wants to do with his life, takes a job interviewing people for a marketing research firm. He moves in with aspiring pop singer Madeleine. Paul, however, is disillusioned by the growing commercialism in society, while Madeleine just wants to be successful. The story is told in a series of 15 unrelated vignettes.
Nick is the director of a low-budget indie film. He tries to keep everything together as his production is plagued with an insecure actress, a megalomaniac star, a pretentious, beret-wearing director of photography, and lousy catering.
A filmmaker recalls his childhood, when he fell in love with the movies at his village's theater and formed a deep friendship with the theater's projectionist.
Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
In 1798, a feral boy is discovered outside the town of Aveyron, France. Diagnosed as mentally impaired, he is relegated to an asylum. A young doctor named Jean Itard becomes convinced that the boy has normal mental capacity, but that his development was hindered by lack of contact with society. He brings the boy home and begins an arduous attempt at education over several years.
In the carefree days before World War I, introverted Austrian author Jules strikes up a friendship with the exuberant Frenchman Jim and both men fall for the impulsive and beautiful Catherine.
Paris, 1967. Disillusioned by their suburban lifestyles, a group of middle-class students, led by Guillaume and Veronique, form a small Maoist cell and plan to change the world by any means necessary. After studying the growth of communism in China, the students decide they must use terrorism and violence to ignite their own revolution. Director Jean-Luc Godard, whose advocacy of Maoism bordered on intoxication, infuriated many traditionalist critics with this swiftly paced satire.
Various experiences of childhood are seen in several sequences that take place in the small town of Thiers, France. Vignettes include a boy's awakening interest in girls, couples double-dating at the movies, brothers giving their friend a haircut, a boy dealing with an abusive home life, a baby and a cat sitting by an open window, a child telling a dirty joke, and a boy who develops a crush on his friend's mother.