View source for Jean-Luc Godard

{{Short description|French and Swiss film director (1930–2022)}}
{{Redirect|Godard}}
{{Use British English|date=July 2023}}
{{Use dmy dates|date=October 2024}}
{{Infobox person
| image              = Jean-Luc Godard at Berkeley, 1968.jpg
| imagesize          = 
| caption            = Godard in 1968
| birth_date         = {{Birth date|df=yes|1930|12|03}}
| birth_place        = Paris, France
| death_date         = {{Death date and age|df=yes|2022|09|13|1930|12|03}}
| death_place        = [[Rolle]], Vaud, Switzerland
| citizenship        = {{hlist|France|Switzerland}}
| alma_mater         = <!--Per template guidelines, unless there is talk page consensus to the contrary, schools shouldn't be listed in the IB unless the subject graduated from them-->
| occupation         = {{hlist|Film director|screenwriter|film critic}}
| years_active       = 1950–2022
| spouse             = {{Plainlist|
* {{Marriage|[[Anna Karina]]|3 March 1961|1965|end=divorced}}
* {{Marriage|[[Anne Wiazemsky]]|1967|1979|end=divorced}}
}}
| partner            = [[Anne-Marie Miéville]] (1978–2022; his death)
| signature          = Jean Luc Godard Signature.svg
| movement           = [[French New Wave]]
| relatives          = {{Plainlist|
* [[Pedro Pablo Kuczynski]] (cousin)
* [[Alex Kuczynski]] (cousin once removed)}}
}}
'''Jean-Luc Godard''' ({{IPAc-en|UK|ˈ|ɡ|ɒ|d|ɑː}} {{respell|GOD|ar}}, {{IPAc-en|US|ɡ|oʊ|ˈ|d|ɑːr}} {{respell|goh|DAR}}; {{IPA|fr|ʒɑ̃ lyk ɡɔdaʁ|lang}}; 3 December 1930{{spnd}}13 September 2022) was a French and Swiss film director, screenwriter, and film critic. He rose to prominence as a pioneer of the [[French New Wave]] film movement of the 1960s,{{sfn|Grant|2007|loc=Vol. 3, p. 235}} alongside such filmmakers as [[François Truffaut]], [[Agnès Varda]], [[Éric Rohmer]] and [[Jacques Demy]]. He was arguably the most influential French filmmaker of the [[post-war era]].<ref name="Allmovie">{{cite web |last1=Ankeny |first1=Jason |title=Biography |url=https://www.allmovie.com/artist/jean-luc-godard-p91804 |publisher=[[AllMovie]] |access-date=18 May 2020 |archive-date=2 August 2020 |archive-url=https://web.archive.org/web/20200802000636/https://www.allmovie.com/artist/jean-luc-godard-p91804 |url-status=deviated }}</ref> According to [[AllMovie]], his work "revolutionized the motion picture form" through its experimentation with narrative, [[continuity editing|continuity]], [[film sound|sound]], and [[cinematography|camerawork]].<ref name="Allmovie" /><ref>{{Cite news |date=14 September 2022 |title='Godard shattered cinema': Martin Scorsese, Mike Leigh, Abel Ferrara, Claire Denis and more pay tribute |url=https://www.theguardian.com/film/2022/sep/14/godard-shattered-cinema-martin-scorsese-mike-leigh-abel-ferrara-luca-guadagnino-and-more-pay-tribute |access-date=22 September 2022 |work=[[The Guardian]] |language=en |archive-date=22 September 2022 |archive-url=https://web.archive.org/web/20220922005529/https://www.theguardian.com/film/2022/sep/14/godard-shattered-cinema-martin-scorsese-mike-leigh-abel-ferrara-luca-guadagnino-and-more-pay-tribute |url-status=live }}</ref>

During his early career as a film critic for ''[[Cahiers du Cinéma]]'', Godard criticized mainstream French cinema's "Tradition of Quality" and championed Hollywood directors like [[Alfred Hitchcock]] and [[Howard Hawks]].{{sfn|Grant|2007|loc=Vol. 3, p. 235}}{{sfn|Grant|2007|loc=Vol. 2, p. 259}} In response, he and like-minded critics began to make their own films,{{sfn|Grant|2007|loc=Vol. 3, p. 235}} challenging the conventions of traditional [[Cinema of the United States|Hollywood]] in addition to [[French cinema]].<ref name=":3">{{cite web |title=Jean-Luc Godard |url=http://www.newwavefilm.com/french-new-wave-encyclopedia/jean-luc-godard.shtml |work=New Wave Film |access-date=24 May 2013 |archive-date=22 July 2017 |archive-url=https://web.archive.org/web/20170722141245/http://newwavefilm.com/french-new-wave-encyclopedia/jean-luc-godard.shtml |url-status=live }}</ref> Godard first received global acclaim for ''[[Breathless (1960 film)|Breathless]]'' (1960), a milestone in the New Wave movement.<ref name="Allmovie" /> His work makes use of frequent homages and references to [[film history]], and often expressed his political views; he was an avid reader of [[existentialism]]<ref>{{cite web |title=40 Years Ago, 'Breathless' Was Hyperactive Anarchy. Now It's Part of the Canon |url=http://www.davidsterritt.com/breathless.html |author=David Sterritt |access-date=24 May 2013 |url-status=dead |archive-url=https://web.archive.org/web/20131102072729/http://www.davidsterritt.com/breathless.html |archive-date=2 November 2013}}</ref> and [[Marxist philosophy]], and in 1969 formed the [[Dziga Vertov Group]] with other radical filmmakers to promote political works.{{sfn|Grant|2007|loc=Vol. 3, p. 126}} After the New Wave, his politics were less radical, and his later films came to be about human conflict and [[Representation (arts)|artistic representation]] "from a [[humanist]] rather than Marxist perspective."{{sfn|Grant|2007|loc=Vol. 3, p. 126}} He explained that "As a critic, I thought of myself as a film-maker. Today I still think of myself as a critic, and in a sense I am, more than ever before. Instead of writing criticism, I make a film, but the critical dimension is subsumed."<ref>{{cite book| title=Godard on Godard| page=172}}</ref>

Godard was married three times, to actresses [[Anna Karina]] and [[Anne Wiazemsky]], both of whom starred in several of his films, and later to his longtime partner [[Anne-Marie Miéville]].<ref name=WaPo2022-09-13 /> His collaborations with Karina in ''[[Vivre sa vie]]'' (1962), [[Bande à part (film)|''Bande à part'']] (1964) and ''[[Pierrot le Fou]]'' (1965) were called "arguably the most influential body of work in the history of cinema" by ''[[Filmmaker (magazine)|Filmmaker]]'' magazine.<ref name="Zahedi">{{cite news |url=http://filmmakermagazine.com/98445-be-beautiful-shut-up-anna-karina-on-filmmaking-with-jean-luc-godard/ |title='Be Beautiful and Shut Up': Anna Karina on Filmmaking with Jean-Luc Godard |last=Zahedi |first=Caveh |work=Filmmaker Magazine |access-date=13 January 2018 |archive-date=28 December 2019 |archive-url=https://web.archive.org/web/20191228192710/https://filmmakermagazine.com/98445-be-beautiful-shut-up-anna-karina-on-filmmaking-with-jean-luc-godard/#.WlnKC0tG23c |url-status=live }}</ref> In a 2002 ''[[Sight & Sound]]'' poll, Godard ranked third in the critics' top ten directors of all time.<ref>{{cite web |title=BFI – Sight & Sound – Top Ten Poll 2002 Poll – The Critics' Top Ten Directors |url=http://www.bfi.org.uk/sightandsound/topten/poll/critics-directors.html |archive-url=https://web.archive.org/web/20110623182355/http://www.bfi.org.uk/sightandsound/topten/poll/critics-directors.html |archive-date=23 June 2011}}</ref>

He is said to have "generated one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century."{{sfn|Grant|2007|loc=Vol. 3, p. 238}} His work has been central to [[Narratology|narrative theory]] and has "challenged both commercial narrative cinema norms and film criticism's vocabulary."{{sfn|Grant|2007|loc=Vol. 3, p. 202}} In 2010, Godard was awarded an [[Academy Honorary Award]].<ref>{{cite news |last=Freeman |first=Nate |url=http://www.observer.com/2010/politics/godard-companion-says-director-will-skip-oscars-calls-honorary-statue-bit-metal |archive-url=https://web.archive.org/web/20101108133955/http://www.observer.com/2010/politics/godard-companion-says-director-will-skip-oscars-calls-honorary-statue-bit-metal |url-status=dead |archive-date=8 November 2010 |title=Godard Companion: Director Will Not Travel to Oscars for a 'Bit of Metal' |newspaper=[[The New York Observer]] |access-date=6 February 2012}}</ref> He was known for his aphorisms, such as "All you need to make a movie is a girl and a gun" and "A film consists of a beginning, a middle and an end, though not necessarily in that order."<ref name=NYTObit>{{cite news| last1=Kehr| first1=Dave| last2=Kandell| first2=Jonathan| title=Jean-Luc-Godard, 91, Is Dead; Bold Director Shaped French New Wave| date=September 13, 2022| work=[[The New York Times]]| url=https://www.nytimes.com/2022/09/13/movies/jean-luc-godard-dead.html}}</ref> Some critics have claimed that Godard's films contain prevailing themes of [[misogyny]] and [[sexism]] towards women.<ref>{{cite web |title=Jean-Luc Godard: The Auteur's Legacy Reassessed |url=https://www.indiependent.co.uk/jean-luc-godard-legacy-reassessed/|date=30 May 2021}}</ref><ref>{{cite journal| title=Sexism in the French New Wave| url=https://www.jstor.org/stable/10.1525/fq.2009.62.3.16| journal=[[University of California Press]]| author=Jonathan Rosenbaum| date=Spring 2009| volume=62| issue=3| pages=16–18| doi=10.1525/fq.2009.62.3.16| jstor=10.1525/fq.2009.62.3.16}}</ref> Feminist film theorist [[Laura Mulvey]], has agreed that "While trying to decode a deep-seated, but interesting, misogyny, I came to think that Godard's cinema knows its own entrapment...for feminist curiosity, it is still a goldmine."<ref name="Mulvey 1996">{{cite book |last=Mulvey |first=Laura |author-link=Laura Mulvey |chapter=The Hole and the Zero: Godard's Visions of Femininity |title=Fetishism and Curiosity |publisher=Indiana University Press; British Film Institute |publication-place=Bloomington; London |year=1996 |isbn=978-0-253-33211-0 |oclc=1408341128 |page=[https://archive.org/details/fetishismcuriosi0000mulv/page/94/mode/2up 94]}}</ref>

== Early life ==
Jean-Luc Godard was born on 3 December 1930<ref>{{cite encyclopedia |last=Moullet |first=Luc |editor=Jim Hillier |title=Jean-Luc Godard |encyclopedia=Cahiers du cinéma: 1960–1968. New Wave, New Cinema, Re-evaluating Hollywood |url=https://books.google.com/books?id=mm9pgpYLA70C&pg=PA35|volume=2 |year=2005 |publisher=Routledge |location=Milton Park, Oxford, UK |isbn=0-415-15106-6 |pages=35–48}}</ref> in the [[7th arrondissement of Paris]],{{sfn|Brody|2008|p=4}} the son of Odile (''née'' Monod) and Paul Godard, a Swiss physician.{{sfn|Morrey|2005|loc=[https://books.google.com/books?id=Kby7RaRmTt4C&pg=PA1 p. 1]}} His wealthy parents came from [[French Protestant|Protestant]] families of Franco–Swiss descent, and his mother was the daughter of Julien Monod, a founder of the [[Banque Paribas]]. She was the great-granddaughter of theologian [[Adolphe Monod]]. Other relatives on his mother's side include composer [[Jacques-Louis Monod]], naturalist [[Théodore Monod]] and pastor [[Frédéric Monod]].<ref>{{cite web |url=http://www.adherents.com/people/pg/Jean_Luc_Godard.html |archive-url=https://web.archive.org/web/20051226215837/http://www.adherents.com/people/pg/Jean_Luc_Godard.html |url-status=usurped |archive-date=26 December 2005 |title=The religion of director Jean-Luc Godard |publisher=Adherents.com |access-date=29 December 2011}}</ref><ref>{{cite web |url=http://www.ordiecole.com/cinema/godard_monod.html |title=Jean Monod (1765–1836), pasteur |publisher=Ordiecole.com |access-date=29 December 2011 |archive-date=4 March 2016 |archive-url=https://web.archive.org/web/20160304195034/http://www.ordiecole.com/cinema/godard_monod.html |url-status=live }}</ref> Four years after Jean-Luc's birth, his father moved the family to Switzerland. At the outbreak of the [[Second World War]], Godard was in France, and returned to Switzerland with difficulty.{{sfn|Brody|2008|p=5}} He spent most of the war in Switzerland, although his family made clandestine trips to his grandfather's estate on the French side of [[Lake Geneva]]. Godard attended school in [[Nyon]], Switzerland.<ref>{{cite web |url=https://fortune.com/2022/09/13/jean-luc-godard-dies-91-french-new-wave-director/ |title=Legendary French New Wave director Jean-Luc Godard dead at 91 |work=[[Fortune (magazine)|Fortune]] |last=Rascouet |first=Angelina |date=13 September 2022 |accessdate=15 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914130617/https://fortune.com/2022/09/13/jean-luc-godard-dies-91-french-new-wave-director/ |url-status=live }}</ref><ref name=NYTObit/>

Not a frequent film-goer, he attributed his introduction to cinema to a reading of [[André Malraux]]'s essay ''Outline of a Psychology of Cinema'' and the ''La Revue du cinéma'', which was relaunched in 1946.{{sfn|Brody|2008|p=6}} In 1946, he went to study at the [[Lycée Buffon]] in Paris and, through family connections, mixed with members of its cultural elite. He lodged with the writer [[Jean Schlumberger (writer)|Jean Schlumberger]]. Having failed his [[baccalauréat]] exam in 1948, he returned to Switzerland. He studied in [[Lausanne]] and lived with his parents, whose marriage was breaking up. He spent time in Geneva also with a group that included another film fanatic, Roland Tolmatchoff, and the extreme rightist philosopher Jean Parvulesco. His elder sister Rachel encouraged him to paint, which he did, in an abstract style. After time spent at a boarding school in [[Thonon]] to prepare for the retest, which he passed, he returned to Paris in 1949.{{sfn|Brody|2008|p=7}} He registered for a certificate in [[anthropology]] at the [[University of Paris]] (Sorbonne), but did not attend class.{{sfn|MacCabe|2005|loc=[https://books.google.com/books?id=FwLqbp0cEp8C&pg=PA37 p. 36]}}

== Early career (1950–1959) ==
=== Film criticism ===
In Paris, in the [[Quartier Latin|Latin Quarter]] just prior to 1950, ''ciné-clubs'' (film societies) were gaining prominence. Godard began attending these clubs—the [[Cinémathèque Française]], Ciné-Club du Quartier Latin (CCQL), Work and Culture ciné club, and others—which became his regular haunts. The Cinémathèque was founded by [[Henri Langlois]] and [[Georges Franju]] in 1936; Work and Culture was a workers' education group for which [[André Bazin]] had organized wartime film screenings and discussions and which had become a model for the film clubs that had risen throughout France after the Liberation; CCQL, founded in about 1947 or 1948, was animated and intellectually led by [[Maurice Schérer]].{{sfn|Brody|2008|pp=8–17}} At these clubs he met fellow film enthusiasts including [[Claude Chabrol]] and [[François Truffaut]].<ref>{{cite web |title=Jean-Luc Godard Biography: The Black Sheep |url=http://www.newwavefilm.com/french-new-wave-encyclopedia/jean-luc-godard.shtml#blacksheep |work=New Wave Film |access-date=24 May 2013 |archive-date=22 July 2017 |archive-url=https://web.archive.org/web/20170722141245/http://newwavefilm.com/french-new-wave-encyclopedia/jean-luc-godard.shtml#blacksheep |url-status=live }}</ref> Godard was part of a generation for whom cinema took on a special importance. He said: "In the 1950s cinema was as important as bread—but it isn't the case anymore. We thought cinema would assert itself as an instrument of knowledge, a microscope... a telescope.... At the Cinémathèque I discovered a world which nobody had spoken to me about. They'd told us about [[Goethe]], but not [[Carl Theodor Dreyer|Dreyer]]. ... We watched silent films in the era of talkies. We dreamed about film. We were like [[Christians in Rome|Christians]] in the [[Catacombs of Rome|catacombs]]."<ref>{{cite web |title=Godard Biography |url=http://www.monstersandcritics.com/people/Jean-Luc-Godard/biography/ |work=Monsters and Critics |access-date=24 May 2013 |url-status=dead |archive-url=https://web.archive.org/web/20131102040712/http://www.monstersandcritics.com/people/Jean-Luc-Godard/biography/ |archive-date=2 November 2013}}</ref><ref>[http://www.oocities.org/paris/4206/refr000.htm#03 "Le cinema n'a pas su remplir son role"]. Jean-Pierre Lavoignat and Christophe d'Yvoire, ''Studio'', number 96, 155–158. {{Webarchive|url=https://web.archive.org/web/20170125040941/http://www.oocities.org/paris/4206/refr000.htm#03 |date=25 January 2017 }}</ref>

His foray into films began in the field of [[Film criticism|criticism]]. Along with Maurice Schérer (writing under the to-be-famous pseudonym [[Éric Rohmer]]) and [[Jacques Rivette]], he founded the short-lived film journal ''{{ill|La Gazette du cinéma|fr|La Gazette du cinéma}}'', which saw the publication of five issues in 1950.<ref name=":3" /> When Bazin co-founded the influential critical magazine ''[[Cahiers du Cinéma]]'' in 1951 (a seminal publication on cinema and its main observers and participants), Godard was the first of the younger critics from the CCQL/Cinémathèque group to be published.{{sfn|Brody|2008|p=28}} The January 1952 issue featured his review of an American melodrama directed by [[Rudolph Maté]], ''[[No Sad Songs for Me]]''.<ref>{{cite book |last1=Andrew |first1=Dudley |title=André Bazin |date=2013 |publisher=Oxford University Press |page=244 |isbn=978-0-19-993824-7 |url=https://books.google.com/books?id=gyBpAgAAQBAJ |access-date=22 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326164807/https://books.google.com/books?id=gyBpAgAAQBAJ |url-status=live }}</ref> His "Defence and Illustration of Classical Découpage" published in September 1952, in which he attacks an earlier article by Bazin and defends the use of the [[Shot/reverse shot|shot–reverse shot]] technique, is one of his earliest important contributions to cinema criticism.<ref>{{cite web |title=Jean-Luc Godard Biography: Cahiers du Cinéma |url=http://www.newwavefilm.com/french-new-wave-encyclopedia/jean-luc-godard.shtml#cahiers |work=New Wave Film |access-date=24 May 2013 |archive-date=22 July 2017 |archive-url=https://web.archive.org/web/20170722141245/http://newwavefilm.com/french-new-wave-encyclopedia/jean-luc-godard.shtml#cahiers |url-status=live }}</ref> Praising [[Otto Preminger]] and "the greatest American artist—[[Howard Hawks]]", Godard raises their harsh melodramas above the more "formalistic and overtly artful films of [[Orson Welles|Welles]], [[Vittorio De Sica|De Sica]], and [[William Wyler|Wyler]] which Bazin endorsed".{{sfn|Brody|2008|pp=29–30}} At this point Godard's activities did not include making films. Rather, he watched films, and wrote about them, and helped others make films, notably Rohmer, with whom he worked on ''[[Présentation ou Charlotte et son steak]]''.{{sfn|Brody|2008|pp=26–27}}

=== Filmmaking ===
Having left Paris in the fall of 1952, Godard returned to Switzerland and went to live with his mother in Lausanne. He became friendly with his mother's lover, Jean-Pierre Laubscher, who was a labourer on the [[Grande Dixence Dam]]. Through Laubscher he secured work himself as a construction worker at the Plaz Fleuri work site at the dam. He saw the possibility of making a documentary film about the dam; when his initial contract ended, to prolong his time at the dam, he moved to the post of telephone switchboard operator. While on duty, in April 1954, he put through a call to Laubscher which relayed the fact that Odile Monod, Godard's mother, had died in a scooter accident. Thanks to Swiss friends who lent him a [[35 mm movie film|35 mm]] movie camera, he was able to shoot on 35mm film. He rewrote the commentary that Laubscher had written, and gave his film a rhyming title ''Opération béton'' (''[[Operation Concrete]]''). The company that administered the dam bought the film and used it for publicity purposes.{{sfn|Brody|2008|pp=31–34}}

As he continued to work for ''Cahiers'', he made ''[[Une femme coquette]]'' (1955), a 10-minute short, in [[Geneva]]; and in January 1956 he returned to Paris. A plan for a feature film of Goethe's ''[[Elective Affinities]]'' proved too ambitious and came to nothing. Truffaut enlisted his help to work on an idea he had for a film based on the true-crime story of a petty criminal, Michel Portail, who had shot a motorcycle policeman and whose girlfriend had turned him in to the police, but Truffaut failed to interest any producers. Another project with Truffaut, a comedy about a country girl arriving in Paris, was also abandoned.{{sfn|Brody|2008|pp=39–42}} He worked with Rohmer on a planned series of short films centering on the lives of two young women, Charlotte and Véronique; and in the autumn of 1957, [[Pierre Braunberger]] produced the first film in the series, ''[[All the Boys Are Called Patrick]]'', directed by Godard from Rohmer's script. ''[[A Story of Water]]'' (1958) was created largely out of unused footage shot by Truffaut. In 1958, Godard, with a cast that included [[Jean-Paul Belmondo]] and Anne Colette, made his last short before gaining international prominence as a filmmaker, ''[[Charlotte et son Jules]]'', an homage to [[Jean Cocteau]]. The film was shot in Godard's hotel room on the rue de Rennes and apparently reflected something of the 'romantic austerity' of Godard's own life at this time. His Swiss friend Roland Tolmatchoff noted: "In Paris he had a big [[Humphrey Bogart|Bogart]] poster on the wall and nothing else."{{sfn|Brody|2008|p=45}} In December 1958, Godard reported from the Festival of Short Films in [[Tours]] and praised the work of, and became friends with [[Jacques Demy]], [[Jacques Rozier]] and [[Agnès Varda]]—he already knew [[Alain Resnais]] whose entry he praised—but Godard now wanted to make a feature film. He travelled to the [[1959 Cannes Film Festival]] and asked Truffaut to let him use the story on which they had collaborated in 1956, about car thief Michel Portail. He sought money from producer [[Georges de Beauregard]], whom he had met previously while working briefly in the publicity department of [[Twentieth Century Fox]]'s Paris office, and who was also at the Festival. Beauregard could offer his expertise, but was in debt from two productions based on [[Pierre Loti]] stories; hence, financing came instead from a film distributor, René Pignières.{{sfn|Brody|2008|pp=47, 50}}

== New Wave (1960–1967) ==
=== ''Breathless'' ===
Godard's [[Breathless (1960 film)|''Breathless'']] (''À bout de souffle'', 1960), starring [[Jean-Paul Belmondo]] and [[Jean Seberg]], distinctly expressed the [[French New Wave]]'s style, and incorporated quotations from several elements of popular culture—specifically American [[film noir]]. It was based on a story suggested by [[François Truffaut]].<ref name=NYTObit/> The film employed various techniques such as the innovative use of [[jump cuts]] (which were traditionally considered amateurish), [[aside|character asides]] and breaking the [[eyeline match]] in [[continuity editing]].{{sfn|Brody|2008|p=59}}{{sfn|Brody|2008|p=69}} Another unique aspect of ''Breathless'' was the spontaneous writing of the script on the day of shooting—a technique that the actors found unsettling—which contributed to the spontaneous, documentary-like ambiance of the film.<ref name=BBC>{{Cite news |date=13 September 2022 |title=Jean-Luc Godard: Nine things about the man who remade cinema |language=en-GB |work=[[BBC News]] |url=https://www.bbc.com/news/entertainment-arts-46709681 |access-date=14 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914015146/https://www.bbc.com/news/entertainment-arts-46709681 |url-status=live }}</ref>

From the beginning of his career, Godard included more film references in his movies than any of his New Wave colleagues. In ''Breathless'', his citations include a movie poster showing [[Humphrey Bogart]] (from his last film, ''[[The Harder They Fall (1956 film)|The Harder They Fall]]''),{{sfn|Brody|2008|p=70}} whose expression Belmondo tries reverently to imitate—visual quotations from the films of [[Ingmar Bergman]], [[Samuel Fuller]], [[Fritz Lang]] and others; and an onscreen dedication to [[Monogram Pictures]], an American [[B-movie]] studio.<ref>{{Cite web|url=https://www.moma.org/explore/inside_out/2013/07/02/jean-luc-godards-breathless/|title=MoMA &#124; Jean-Luc Godard's Breathless|website=moma.org|access-date=13 September 2022|archive-date=7 April 2020|archive-url=https://web.archive.org/web/20200407110746/https://www.moma.org/explore/inside_out/2013/07/02/jean-luc-godards-breathless/|url-status=live}}</ref> Quotations from, and references to, literature include [[William Faulkner]], [[Dylan Thomas]], [[Louis Aragon]], [[Rainer Maria Rilke]], [[Françoise Sagan]] and [[Maurice Sachs]]. The film also contains citations to composers ([[Johann Sebastian Bach|J. S. Bach]], [[Wolfgang Amadeus Mozart|Mozart]]) and painters ([[Pablo Picasso|Picasso]], [[Paul Klee]] and [[Auguste Renoir]]).{{sfn|Brody|2008|p=71}}

Godard wanted to hire Seberg, who was living in Paris with her husband François Moreuil, a lawyer, to play the American woman. Seberg had become famous in 1956 when [[Otto Preminger]] had chosen her to play [[Joan of Arc]] in his ''[[Saint Joan (1957 film)|Saint Joan]]'', and had then cast her in his 1958 adaptation of ''[[Bonjour Tristesse (1958 film)|Bonjour Tristesse]]''.{{sfn|Brody|2008|p=54}} Her performance in this film had not been generally regarded as a success—''[[The New York Times]]''{{'}}s critic called her a "misplaced amateur"—but Truffaut and Godard disagreed. In the role of Michel Poiccard, Godard cast Belmondo, an actor he had already called, in ''Arts'' in 1958, "the [[Michel Simon]] and the [[Jules Berry]] of tomorrow."<ref>''Godard on Godard'', p. 150.</ref> The cameraman was [[Raoul Coutard]], choice of the producer Beauregard. Godard wanted ''Breathless'' to be shot like a documentary, with a lightweight handheld camera and a minimum of added lighting; Coutard had experience as a documentary cameraman while working for the French army's information service during the [[French-Indochina War]]. Tracking shots were filmed by Coutard from a wheelchair pushed by Godard. Though Godard had prepared a traditional screenplay, he dispensed with it and wrote the dialogue day by day as the production went ahead.{{sfn|Brody|2008|p=62}} The film's importance was recognized immediately, and in January 1960 Godard won the [[Prix Jean Vigo|Jean Vigo Prize]], awarded "to encourage an [[auteur theory|auteur]] of the future". One reviewer mentioned [[Alexandre Astruc]]'s prophecy of the age of the ''caméra-stylo'', the camera that a new generation would use with the efficacy with which a writer uses his pen—"here is in fact the first work authentically written with a ''caméra-stylo''{{-"}}.{{sfn|Brody|2008|pp=72–73}} [[Richard Brody]] writes: "After ''Breathless'', anything artistic appeared possible in the cinema. The film moved at the speed of the mind and seemed, unlike anything that preceded it, a live recording of one person thinking in real time."<ref name=NYTObit/> [[Phillip Lopate]] wrote that "It seemed a new kind of storytelling, with its saucy jump cuts, digressions, quotes, in jokes and addresses to the viewer."<ref name=NYTObit/>

[[File:Aankomst Franse filmster Anna Karina op Schiphol, Bestanddeelnr 921-0594.jpg|thumb|[[Anna Karina]], having rejected a role in ''Breathless'', appeared in the next film shot by Godard, ''[[Le petit soldat]]'' (''The Little Soldier''), which concerned France's war in Algeria.]]

=== Early work with Anna Karina ===
In 1960 Godard shot ''[[Le petit soldat]]'' (''The Little Soldier''). The cast included Godard's future wife [[Anna Karina]]. At this time Karina had virtually no experience as an actress. Godard used her awkwardness as an element of her performance. Godard and Karina were a couple by the end of the shoot. She appeared again, along with Belmondo, in Godard's first color film, ''[[A Woman Is a Woman]]'' (1961), their first project to be released. The film was intended as an homage to the [[Musical Film|American musical]]. Adjustments that Godard made to the original version of the story gave it autobiographical resonances, "specifically in regard to his relationship with Anna Karina." The film revealed "the confinement within the four walls of domestic life" and "the emotional and artistic fault lines that threatened their relationship".{{sfn|Brody|2008|p=110}}

=== ''Vivre sa vie'' ===
Godard's next film, ''[[My Life to Live|Vivre sa vie]]'' (''My Life to Live'', 1962), was one of his most popular among critics. Karina starred as Nana, an errant mother and aspiring actress whose financially strained circumstances lead her to the life of a [[streetwalker]]. It is an episodic account of her rationalizations to prove she is free, even though she is tethered at the end of her [[pimp]]'s short leash. In one scene, within a café, she spreads her arms out and announces she is free to raise or lower them as she wishes.<ref name="far" />

The film was a popular success and led to [[Columbia Pictures]] giving him a deal where he would be provided with $100,000 to make a movie, with complete artistic control.<ref name="far">{{cite news |title=France's Far Out Filmmaker |first=Eugene |last=Archer |newspaper=[[The New York Times]] |date=27 September 1964 |page=X11}}</ref>

=== ''Le petit soldat'' and ''Les Carabiniers'' ===
''Le petit soldat'' was not released until 1963, the first of three films he released that year. It dealt with the [[Algerian War of Independence]] and was banned by the French government for the next two years due to its political nature.<ref>{{cite magazine |last1=Brody |first1=Richard |title=Godard's Truthful Torture Scene |url=https://www.newyorker.com/culture/richard-brody/godards-truthful-torture-scene |magazine=[[The New Yorker]] |access-date=14 September 2022 |archive-date=24 September 2022 |archive-url=https://web.archive.org/web/20220924210256/https://www.newyorker.com/culture/richard-brody/godards-truthful-torture-scene |url-status=live }}</ref> The 'little soldier' Bruno Forestier was played by [[Michel Subor]]. Forestier was a character close to Godard himself, an image-maker and intellectual, 'more or less my spokesman, but not totally' Godard told an interviewer.{{sfn|Brody|2008|p=92}}

The film begins on 13 May 1958, the date of the [[May 1958 crisis|attempted putsch in Algeria]], and ends later the same month. In the film, Bruno Forestier, a [[photojournalist]] who has links with a right-wing paramilitary group working for the French government, is ordered to murder a professor accused of aiding the Algerian resistance. He is in love with Veronica Dreyer, a young woman who has worked with the Algerian fighters. He is captured by Algerian militants and tortured. His organization captures and tortures her. In making ''Le petit soldat'', Godard took the unusual step of writing dialogue every day and calling the lines to the actors during filming – a technique made possible by filming without direct sound and dubbing dialogue in post-production.{{sfn|Brody|2008|p=86}}<ref>{{cite web |title=Le Petit Soldat (1957) |url=https://www.tcm.com/tcmdb/title/81103/le-petit-soldat#synopsis |website=[[Turner Classic Movies]] |access-date=14 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914230024/https://www.tcm.com/tcmdb/title/81103/le-petit-soldat#synopsis |url-status=live }}</ref>

His following film was ''[[The Carabineers|Les Carabiniers]]'', based on a story by [[Roberto Rossellini]], one of Godard's influences.<ref>{{cite book |last1=Kolker |first1=Robert Phillip |title=Bernardo Bertolucci |year=1985 |page=34 |publisher=Oxford University Press |isbn=9780195204926 |url=https://books.google.com/books?id=tvQqAQAAIAAJ |access-date=22 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326164807/https://books.google.com/books?id=tvQqAQAAIAAJ |url-status=live }}</ref> The film follows two peasants who join the army of a king, only to find futility in the whole thing as the king reveals the deception of war-administrating leaders.

=== ''Contempt'' ===
His final film of 1963, and the most commercially successful of his career, was [[Contempt (film)|''Le Mépris'']] (''Contempt''), starring [[Michel Piccoli]] and one of France's biggest female stars, [[Brigitte Bardot]].<ref>{{cite web |last1=Marquand |first1=David |title=Jean-Luc Godard: what was the French New Wave and what films are must-sees? |url=https://www.euronews.com/culture/2022/09/13/jean-luc-godard-what-was-the-french-new-wave-and-what-films-are-must-sees |website=[[Euronews]]|date=13 September 2022 }}</ref><ref>{{cite book |title=Paragraph: The Journal of the Modern Critical Theory Group |date=1992 |publisher=[[University of California]] |page=87 |url=https://books.google.com/books?id=4yQnAQAAIAAJ |access-date=22 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326164807/https://books.google.com/books?id=4yQnAQAAIAAJ |url-status=live }}</ref> The film follows Paul (Piccoli), a screenwriter who is commissioned by Prokosch ([[Jack Palance]]), an arrogant American movie producer, to rewrite the script for an adaptation of [[Homer]]'s ''[[Odyssey]]'', directed by Austrian director [[Fritz Lang]] (playing himself). Lang's '[[high culture]]' interpretation of the story is lost on Prokosch, whose character is a firm indictment of the commercial motion picture hierarchy.<ref>{{Cite web |title=Contempt |url=https://www.boxofficemojo.com/title/tt0057345/ |access-date=13 September 2022 |website=[[Box Office Mojo]] |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004312/https://www.boxofficemojo.com/title/tt0057345/ |url-status=live }}</ref>

=== Anouchka Films ===
In 1964, Godard and Karina formed a production company, Anouchka Films.<ref>Sterritt 1998, p. xvii</ref> He directed [[Bande à part (film)|''Bande à part'']] (''Band of Outsiders''), also starring Karina and described by Godard as "''[[Alice in Wonderland]]'' meets [[Franz Kafka]]."<ref name=boo>{{cite book |last1=Katz |first1=Ephraim |title=The Film Encyclopedia |date=1979 |publisher=Crowell |isbn=9780690012040 |page=488 |url=https://books.google.com/books?id=JYnspeARJpwC |access-date=22 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326164813/https://books.google.com/books?id=JYnspeARJpwC |url-status=live }}</ref> It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several [[gangster film]] conventions.<ref>{{Cite web |title=Band of Outsiders |url=https://www.boxofficemojo.com/title/tt0057869/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004326/https://www.boxofficemojo.com/title/tt0057869/ |url-status=live }}</ref><ref name=boo/> While promoting the film, Godard wrote that according to [[D. W. Griffith]], all one needs to make a film is "a girl and a gun."<ref>{{Cite magazine |date=17 April 2012 |title=Shooting Movies |url=https://www.newyorker.com/culture/richard-brody/shooting-movies |access-date=14 September 2022 |magazine=[[The New Yorker]] |language=en-US |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914044500/https://www.newyorker.com/culture/richard-brody/shooting-movies |url-status=live }}</ref>

'' [[A Married Woman|Une femme mariée]]'' (''A Married Woman'', 1964) followed ''Band of Outsiders''. It was a slow, deliberate, toned-down black-and-white picture without a real story. The film was shot in four weeks<ref>[[Luc Moullet]], ''Masters of Cinema'' No. 4, booklet p. 10.</ref> and was "an explicitly and stringently modernist film". It showed Godard's "engagement with the most advanced thinking of the day, as expressed in the work of [[Claude Lévi-Strauss]] and [[Roland Barthes]]" and its fragmentation and abstraction reflected also "his loss of faith in the familiar [[Hollywood (film industry)|Hollywood]] styles."{{sfn|Brody|2008|pp=190–191}}

In 1965, Godard directed [[Alphaville (film)|''Alphaville'']], a futuristic blend of [[science fiction]], [[film noir]] and satire.<ref>{{cite book |last1=Meehan |first1=Paul |title=The Fusion of Science Fiction and Film Noir |date=2015 |publisher=McFarland |page=126 |isbn=9781476609737 |url=https://books.google.com/books?id=RBFeCgAAQBAJ |access-date=22 March 2023 |archive-date=26 March 2023 |archive-url=https://web.archive.org/web/20230326164813/https://books.google.com/books?id=RBFeCgAAQBAJ |url-status=live }}</ref> [[Eddie Constantine]] starred as [[Lemmy Caution]], a detective who is sent into a city controlled by a giant computer named Alpha 60. His mission is to make contact with Professor von Braun ([[Howard Vernon]]), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer.<ref>{{cite news|url=https://www.ft.com/content/addeb444-8d6c-4450-9c1e-b6c8a8f60c93?shareType=nongift|title=The FT Alphaville genesis story|newspaper=[[Financial Times]] |date=15 September 2022|access-date=16 September 2022|archive-date=16 September 2022|archive-url=https://web.archive.org/web/20220916141729/https://www.ft.com/content/addeb444-8d6c-4450-9c1e-b6c8a8f60c93?shareType=nongift|url-status=live}}</ref><ref>{{Cite web |title=Alphaville |url=https://www.boxofficemojo.com/title/tt0058898/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004313/https://www.boxofficemojo.com/title/tt0058898/ |url-status=live }}</ref> His next film was ''[[Pierrot le Fou]]'' (1965). [[Gilles Jacob]], an author, critic and president of the [[Cannes Film Festival]], called it both a "retrospective" and recapitulation.<ref>{{cite web |last1=Galbraith IV |first1=Stuart |title=Pierrot Le Fou – Criterion Collection |url=https://www.dvdtalk.com/reviews/38457/pierrot-le-fou/ |website=DVDTalk.com |access-date=14 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914223823/https://www.dvdtalk.com/reviews/38457/pierrot-le-fou/ |url-status=live }}</ref> He solicited the participation of Belmondo, by then a famous actor, to guarantee the necessary amount of funding for the expensive film.<ref>{{cite book |last1=MacCabe |first1=Colin |title=Godard: A Portrait of the Artist at Seventy |date=18 February 2014 |publisher=[[Farrar, Straus and Giroux]] |page=174 |isbn=9781466862364 |url=https://books.google.com/books?id=9KqfAgAAQBAJ |access-date=13 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914191305/https://books.google.com/books?id=9KqfAgAAQBAJ |url-status=live }}</ref> Godard said the film was "connected with the violence and loneliness that lie so close to happiness today. It's very much a film about France."<ref>Godard--France's Brilliant Misfit Ardagh, John. Los Angeles Times 17 April 1966: b8.</ref> The film featured American director [[Samuel Fuller]] as himself.

''[[Masculin Féminin]]'' (1966), based on two [[Guy de Maupassant]] stories, ''La Femme de Paul'' and ''Le Signe'', was a study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the characters as "The children of [[Karl Marx|Marx]] and [[Coca-Cola]]." Although Godard's cinema is sometimes thought to depict a wholly masculine point of view, Phillip John Usher has demonstrated how the film, by the way it connects images and disparate events, seems to blur gender lines.<ref>{{Cite journal|last=Usher|first=Phillip John|year=2009|title=De sexe incertain: Masculin Féminin de Godard|url=https://muse.jhu.edu/pub/17/article/371649|journal=French Forum|volume=34|issue=2|pages=97–112|doi=10.1353/frf.0.0089|s2cid=194116472 |issn=1534-1836|url-access=subscription}}</ref>

Godard followed with ''[[Made in U.S.A (1966 film)|Made in U.S.A]]'' (1966), the source material for which was [[Richard Stark]]'s ''The Jugger''. A classic New Wave crime thriller, it was inspired by American Noir films. Karina stars as the anti-hero searching for her murdered lover and the film includes a cameo by [[Marianne Faithfull]].<ref>{{Cite web |title=Made in U.S.A |url=https://www.boxofficemojo.com/title/tt0060647/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004314/https://www.boxofficemojo.com/title/tt0060647/ |url-status=live }}</ref><ref>{{cite web |url=https://movies.nytimes.com/movie/review?res=9D0CEEDB1238E53BBC4051DFBF66838C679EDE |title=Movie Review: ''Made in U.S.A.'' |work=The New York Times |date=28 September 1967 |access-date=23 May 2011 |archive-date=19 March 2024 |archive-url=https://web.archive.org/web/20240319014340/https://www.nytimes.com/1967/09/28/archives/film-festival-2-by-jeanluc-godardmade-in-usa-full-of-imagery-and.html |url-status=live }}</ref> A year later came ''[[Two or Three Things I Know About Her]]'' (1967), in which [[Marina Vlady]] portrays a woman leading a double life as housewife and prostitute, considered to be "among the greatest achievements in filmmaking."<ref>{{cite web |last=Taubin |first=Amy |author-link=Amy Taubin |url=https://www.criterion.com/current/posts/1198-2-or-3-things-i-know-about-her-the-whole-and-its-parts |title=''2 or 3 Things I Know About Her'': The Whole and Its Parts |publisher=[[The Criterion Collection]] |date=21 July 2009 |access-date=14 September 2022 |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914092307/https://www.criterion.com/current/posts/1198-2-or-3-things-i-know-about-her-the-whole-and-its-parts |url-status=live }}</ref>

''[[La Chinoise]]'' (1967) saw Godard at his most politically forthright so far. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the [[May 68|May 1968 events]], the film is thought by some to have foreshadowed the student rebellions that took place.<ref>{{Cite web |title=La Chinoise |url=https://www.boxofficemojo.com/title/tt0061473/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914020157/https://www.boxofficemojo.com/title/tt0061473/ |url-status=live }}</ref><ref>{{cite web|url=https://sbhager.com/la-chinoise/|title=Jean-Luc Godard's La Chinoise and Student Radicalism|work=Sandy Brian Hager |date=17 March 2016|publisher=Sbhager|access-date=16 September 2022|archive-date=21 September 2022|archive-url=https://web.archive.org/web/20220921215618/https://sbhager.com/la-chinoise/|url-status=live}}</ref>

=== ''Week End'' ===
That same year, Godard made a more colourful and political film, [[Weekend (1967 film)|''Week End'']]. It follows a Parisian couple as they leave on a weekend trip across the French countryside to collect an inheritance. What ensues is a confrontation with the tragic flaws of the over-consuming [[bourgeoisie]]. The film contains an eight-minute [[tracking shot]] of the couple stuck in an unremitting traffic jam as they leave the city, cited as a technique Godard used to deconstruct bourgeois trends.{{sfn|Morrey|2005|p=72}} Startlingly, a few shots contain extra footage from, as it were, before the beginning of the take (while the actors are preparing) and after the end of the take (while the actors are coming out of character). ''Week End''{{'s}} enigmatic and audacious end title sequence, which reads "End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking career.{{sfn|Morrey|2005}}{{page needed|date=November 2021}}

== Political period (1968–1979) ==
Godard was known for his "highly political voice", and regularly featured political content in his films.<ref>{{cite web |title=Jean-Luc Godard: Giant who left audience 'Breathless' with highly political voice |url=https://www.newindianexpress.com/entertainment/2022/sep/14/jean-luc-godard-giant-who-left-audience-breathless-with-highly-political-voice-2497932.html |website=[[The New Indian Express]] |date=14 September 2022 |access-date=14 September 2022 |archive-date=28 September 2022 |archive-url=https://web.archive.org/web/20220928080146/https://www.newindianexpress.com/entertainment/2022/sep/14/jean-luc-godard-giant-who-left-audience-breathless-with-highly-political-voice-2497932.html |url-status=live }}</ref><ref>{{cite book |title=The New York Times Guide to Essential Knowledge |date=2011 |publisher=St. Martin's Publishing Group |page=1274 |isbn=9781429950855 |url=https://books.google.com/books?id=6pGauDNi-QUC |access-date=22 March 2023 |archive-date=21 March 2023 |archive-url=https://web.archive.org/web/20230321005008/https://books.google.com/books?id=6pGauDNi-QUC |url-status=live }}</ref> One of his earliest features, ''Le petit soldat'', which dealt with the [[Algerian War of Independence]], was notable for its attempt to present the complexity of the dispute; the film was perceived as equivocating and as drawing a "moral equivalence" between the French forces and the [[National Liberation Front (Algeria)|National Liberation Front]].<ref>{{cite web|url=https://www.criterion.com/current/posts/6782-le-petit-soldat-the-awful-truth|title=''Le petit soldat'': The Awful Truth|publisher=[[Criterion Collection]]|last=Elliott|first=Nicholas|date=21 January 2020|access-date=15 September 2022|archive-date=22 September 2022|archive-url=https://web.archive.org/web/20220922132355/https://www.criterion.com/current/posts/6782-le-petit-soldat-the-awful-truth|url-status=live}}</ref> Along these lines, ''Les Carabiniers'' presents a fictional war that is initially romanticized in the way its characters approach their service, but becomes a stiff anti-war [[Metonymy|metonym]].<ref name="EbertCarabineers" /> In addition to the international conflicts to which Godard sought an artistic response, he was also very concerned with the social problems in France. The earliest and best example of this is Karina's potent portrayal of a prostitute in ''Vivre sa vie''.<ref name="TheFreeDictionary.com">{{Cite web |title=Godard, Jean-Luc |url=https://encyclopedia2.thefreedictionary.com/Godard%2c+Jean-Luc |access-date=13 September 2022 |website=[[TheFreeDictionary.com]] |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914020913/https://encyclopedia2.thefreedictionary.com/Godard%2c+Jean-Luc |url-status=live }}</ref><ref>{{Cite web |title=Vivre Sa Vie |url=https://www.boxofficemojo.com/title/tt0056663/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004311/https://www.boxofficemojo.com/title/tt0056663/ |url-status=live }}</ref><ref>{{cite web|url=https://www.byarcadia.org/post/vivre-sa-vie-the-prostitute-as-a-protagonist|title="Vivre sa Vie" – The Prostitute As A Protagonist|date=13 August 2021|publisher=Byarcadia|access-date=15 September 2022|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920180444/https://www.byarcadia.org/post/vivre-sa-vie-the-prostitute-as-a-protagonist|url-status=live}}</ref> In 1960s Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct post-war climate shaped by various international conflicts such as colonialism in North Africa and Southeast Asia. [[#Marxism|Godard's Marxist disposition]] did not become abundantly explicit until ''La Chinoise'' and ''Week End'', but is evident in several films—namely ''Pierrot'' and ''Une femme mariée''.<ref name="TheFreeDictionary.com" /><ref>{{cite web|url=https://www.cinemaexpress.com/english/news/2022/sep/13/pioneer-of-french-new-wave-cinema-jean-luc-godard-dies-at-91-34625.html|title=Pioneer of French New Wave cinema Jean-Luc Godard dies at 91|date=13 September 2022 |publisher=Cinema Express|access-date=15 September 2022|archive-date=16 September 2022|archive-url=https://web.archive.org/web/20220916014901/https://www.cinemaexpress.com/english/news/2022/sep/13/pioneer-of-french-new-wave-cinema-jean-luc-godard-dies-at-91-34625.html|url-status=live}}</ref>

Godard was accused by some of harbouring [[anti-Semitic]] views: in 2010, in the lead-up to the presentation of Godard's honorary Oscar, a prominent article in ''[[The New York Times]]'' by [[Michael Cieply]] drew attention to the idea, which had been circulating through the press in previous weeks, that Godard might be an anti-Semite, and thus undeserving of the accolade. Cieply makes reference to [[Richard Brody]]'s book ''Everything is Cinema: The Working Life of Jean-Luc Godard'', and alluded to a previous, longer article published by the ''[[The Jewish Journal of Greater Los Angeles|Jewish Journal]]'' as lying near the origin of the debate.<ref>{{cite news |url=https://www.nytimes.com/2010/11/02/movies/02godard.html |title=An Honorary Oscar Revives a Controversy |author=Michael Cieply |date=1 November 2010 |access-date=27 January 2011 |work=The New York Times |archive-date=15 November 2011 |archive-url=https://web.archive.org/web/20111115140646/http://www.nytimes.com/2010/11/02/movies/02godard.html |url-status=live }}</ref> The article also draws upon Brody's book, for example in the following quotation, which Godard made on television in 1981: "[[Moses]] is my principal enemy...Moses, when he received the commandments, he saw images and translated them. Then he brought the texts, he didn't show what he had seen. That's why the [[Jewish people]] are accursed."<ref>{{cite news |url=http://www.jewishjournal.com/cover_story/article/jean-luc_godard_to_get_honorary_oscar_questions_of_anti-semitism_remain_201 |title=Is Jean-Luc Godard an anti-Semite? |first=Tom |last=Tugend |date=6 October 2010 |access-date=9 May 2012 |work=The Jewish Journal |archive-date=26 October 2012 |archive-url=https://web.archive.org/web/20121026041037/http://www.jewishjournal.com/cover_story/article/jean-luc_godard_to_get_honorary_oscar_questions_of_anti-semitism_remain_201 |url-status=live }}</ref>

Immediately after Cieply's article was published, Brody made a clear point of criticising the "extremely selective and narrow use" of passages in his book, and noted that Godard's work approached the Holocaust with "the greatest moral seriousness".<ref>{{cite web |url=http://www.newyorker.com/online/blogs/movies/2010/11/the-oscar-question.html |title=Jean-Luc Godard: The Oscar Question |date=2 November 2010 |access-date=27 January 2011 |author=Richard Brody |work=The Front Row |archive-date=6 December 2010 |archive-url=https://web.archive.org/web/20101206094815/http://www.newyorker.com/online/blogs/movies/2010/11/the-oscar-question.html |url-status=live }}</ref> Indeed, his documentaries feature images from the [[Holocaust]] in a context suggesting he considers [[Nazism]] and the Holocaust as the nadir of human history. Godard's views become more complex regarding the [[State of Israel]]. In 1970, Godard travelled to the Middle East to make a pro-Palestinian film he did not complete and whose footage eventually became part of the 1976 film ''[[Here and Elsewhere|Ici et ailleurs]]''. In this film, Godard seems to view the [[Palestinians]]' cause as one of many worldwide Leftist revolutionary movements. Elsewhere, Godard explicitly identified himself as an [[anti-Zionist]] but denied the accusations of anti-Semitism.<ref>{{cite news |url=http://www.vulture.com/2010/11/jean-luc_godard_says_honorary.html |title=Jean-Luc Godard Says Honorary Oscar Meant 'Nothing' to Him |author=Kyle Buchanan |date=15 November 2010 |access-date=9 May 2012 |work=Vulture |archive-date=7 September 2013 |archive-url=https://web.archive.org/web/20130907191135/http://www.vulture.com/2010/11/jean-luc_godard_says_honorary.html |url-status=live }}</ref>

=== Vietnam War ===
Godard produced several pieces that directly address the [[Vietnam War]]. Furthermore, there are two scenes in ''[[Pierrot le fou]]'' that tackle the issue. The first is a scene that takes place in the initial car ride between Ferdinand (Belmondo) and Marianne (Karina). Over the car radio, the two hear the message "garrison massacred by the [[Viet Cong]] who lost 115 men". Marianne responds with an extended musing on the way the radio dehumanises the Northern Vietnamese combatants.<ref>{{Cite AV media |title=Pierrot Le Fou |year=1965 |last=Godard |first=Jean-Luc |type=Motion picture |language=fr}}</ref> The war is present throughout the film in mentions, allusions, and depictions in [[newsreel]] footage, and the film's style was affected by Godard's political anger at the war, upsetting his ability to draw from earlier cinematic styles.<ref>{{cite web |url= https://www.criterion.com/current/posts/525-pierrot-le-fou-self-portrait-in-a-shattered-lens |title= ''Pierrot le fou'': Self-Portrait in a Shattered Lens |last= Brody |first= Richard |date= 22 September 2009 |access-date= 15 September 2022 |publisher= [[Criterion Collection]] |archive-date= 7 October 2022 |archive-url= https://web.archive.org/web/20221007055238/https://www.criterion.com/current/posts/525-pierrot-le-fou-self-portrait-in-a-shattered-lens |url-status= live }}</ref>

Notably, he also participated in ''[[Loin du Vietnam]]'' (1967). An anti-war project, it consists of seven sketches directed by Godard (who used [[stock footage]] from ''La Chinoise''), [[Claude Lelouch]], [[Joris Ivens]], [[William Klein (photographer)|William Klein]], [[Chris Marker]], [[Alain Resnais]], and [[Agnès Varda]].<ref>{{Cite web |title=Far from Vietnam |url=https://www.boxofficemojo.com/title/tt0061913/ |access-date=13 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004327/https://www.boxofficemojo.com/title/tt0061913/ |url-status=live }}</ref><ref>{{cite web|url=https://www.unifrance.org/film/4152/loin-du-vietnam|title=Loin du Vietnam|access-date=16 September 2022|publisher=Unifrance.org|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920163459/https://www.unifrance.org/film/4152/loin-du-vietnam|url-status=live}}</ref>

=== Bertolt Brecht ===
Godard's engagement with German poet and playwright [[Bertolt Brecht]] stems primarily from his attempt to transpose Brecht's theory of [[epic theatre]] and its prospect of alienating the viewer (''[[Verfremdungseffekt]]'') through a radical separation of the elements of the medium (theatre in Brecht's case, but in Godard's, film). Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used cinematic expression for specific political ends.<ref name="TheFreeDictionary.com" /><ref>{{cite book |url=https://books.google.com/books?id=v7KAEAAAQBAJ&pg=PT49 |title=Joel and Ethan Coen |isbn=9780252054143 |access-date=15 September 2022 |last1=Barton Palmer |first1=R. |date=15 August 2022 |publisher=University of Illinois Press |archive-date=11 June 2023 |archive-url=https://web.archive.org/web/20230611040522/https://books.google.com/books?id=v7KAEAAAQBAJ&pg=PT49 |url-status=live }}</ref>

For example, ''[[Breathless (1960 film)|Breathless]]''{{'s}} elliptical editing, which denies the viewer a fluid narrative typical of mainstream cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more investment in the work's content.<ref>Brody, pp 53–80</ref> In many of his most political pieces, specifically ''[[Weekend (1967 film)|Week-end]]'', ''[[Pierrot le Fou]]'', and ''[[La Chinoise]]'', characters address the audience with thoughts, feelings, and instructions.<ref name="TheFreeDictionary.com" />

=== Marxism ===
{{See also|Karl Marx in film}}
A [[Marxist theory|Marxist]] reading is possible with most if not all of Godard's early work. Godard's direct interaction with Marxism does not become explicitly apparent, however, until ''Week-end'', where the name [[Karl Marx]] is cited in conjunction with figures such as [[Jesus Christ]]. A constant refrain throughout Godard's cinematic period is that of the bourgeoisie's [[consumerism]], the commodification of daily life and activity, and [[Social alienation|man's alienation]]—all central features of Marx's [[critique of capitalism]].{{sfn|Grant|2007|loc=Vol. 3, p. 126}}

In an essay on Godard, philosopher and aesthetics scholar [[Jacques Rancière]] states, "When in ''Pierrot le fou'', 1965, a film without a clear political message, Belmondo played on the word 'scandal' and the 'freedom' that the Scandal girdle supposedly offered women, the context of a Marxist critique of [[commodification]], of [[pop art]] derision at consumerism, and of a [[feminist]] denunciation of women's false 'liberation', was enough to foster a [[dialectics#Marxist dialectics|dialectical]] reading of the joke and the whole story." The way Godard treated politics in his cinematic period was in the context of a joke, a piece of art, or a relationship, presented to be used as tools of reference, romanticising the Marxist rhetoric, rather than being solely tools of education.<ref>{{in lang|fr}} [http://simpleappareil.free.fr/lobservatoire/index.php?2007/11/25/43-ranciere-cinemaction "Jean-Luc Godard, La religion de l'art. Entretien avec Jacques Rancière" paru dans ''CinémAction'', « Où en est le God-Art ? »] {{Webarchive|url=https://web.archive.org/web/20220914004313/http://simpleappareil.free.fr/lobservatoire/index.php?2007%2F11%2F25%2F43-ranciere-cinemaction |date=14 September 2022 }}, n° 109, 2003, pp.&nbsp;106–112, reproduit sur le site d'analyse L'oBservatoire (simple appareil).</ref>

''[[A Married Woman|Une femme mariée]]'' is also structured around Marx's concept of [[commodity fetishism]]. Godard once said that it is "a film in which individuals are considered as things, in which chases in a taxi alternate with ethological interviews, in which the spectacle of life is intermingled with its analysis". He was very conscious of the way he wished to portray the human being. His efforts are overtly characteristic of Marx, who in his ''[[Economic and Philosophical Manuscripts of 1844]]'' gives one of his most nuanced elaborations, analysing how the worker is alienated from his product, the object of his productive activity. [[Georges Sadoul]], in his short rumination on the film, describes it as a "sociological study of the alienation of the modern woman".<ref>{{Cite book |last=Sadoul |first=Georges |url=https://books.google.com/books?id=8di8zgEACAAJ |title=Dictionary of Films |date=1972 |publisher=[[University of California Press]] |isbn=978-0-520-02152-5 |page=393 |language=en |access-date=14 September 2022 |archive-date=19 March 2024 |archive-url=https://web.archive.org/web/20240319014208/https://books.google.com/books?id=8di8zgEACAAJ |url-status=live }}</ref>

=== Revolutionary period (1968–1979) ===
The period which spans from May 1968 into the 1970s has been given various labels{{--}}from his "militant" period, to his "radical" period, along with terms as specific as "[[Maoist]]" and as vague as "political". In any case, the period saw Godard employ consistent revolutionary rhetoric in his films and in his public statements.{{sfn|Brody|2008}}<ref name="TheFreeDictionary.com" />

Inspired by the [[May 68]] upheaval, Godard, alongside [[François Truffaut]], led protests that shut down the [[1968 Cannes Film Festival]] in solidarity with the students and workers. Godard stated there was not a single film showing at the festival that represented their causes. "Not one, whether by [[Miloš Forman|Milos]], myself, [[Roman Polanski|Roman]] or François. There are none. We're behind the times."<ref>{{Cite news |last=Wise |first=Damon |date=18 May 2018 |title=Cannes 1968: The Year Jean-Luc Godard and François Truffaut Led Protests That Shut Down The Festival |language=en-US |work=Deadline |url=https://deadline.com/2018/05/cannes-film-festival-1968-protests-anniversary-commentary-news-1202380606/ |access-date=13 November 2020 |archive-date=1 December 2020 |archive-url=https://web.archive.org/web/20201201180233/https://deadline.com/2018/05/cannes-film-festival-1968-protests-anniversary-commentary-news-1202380606/ |url-status=live }}</ref>

=== Films ===
Amid the upheavals of the late 1960s, Godard became passionate about "making political films politically." Though many of his films from 1968 to 1972 are feature-length films, they are low-budget and challenge the notion of what a film can be. In addition to abandoning mainstream filmmaking, Godard also tried to escape the [[cult of personality]] that had formed around him. He worked anonymously in collaboration with other filmmakers, most notably [[Jean-Pierre Gorin]], with whom he formed the [[Dziga Vertov Group|Dziga-Vertov]] cinema collective. During this period Godard made films in England, Italy, Czechoslovakia, Palestine, and the U.S., as well as France. He and Gorin toured with their work, attempting to create discussion, mainly on college campuses. This period came to a climax with the big-budget production ''[[Tout Va Bien]]'', which starred [[Yves Montand]] and [[Jane Fonda]]. Owing to a motorcycle accident that severely incapacitated Godard, Gorin ended up directing this most celebrated of their work together almost single-handedly. As a companion piece to ''Tout va bien'', the pair made ''[[Letter to Jane]]'', a 50-minute "examination of a still" showing Jane Fonda visiting with the [[Viet Cong]] during the [[Vietnam War]]. The film is a deconstruction of Western imperialist ideology. This was the last film that Godard and Gorin made together.{{sfn|Brody|2008}}

In 1978 Godard was commissioned by the [[People's Republic of Mozambique|Mozambican]] government to make a short film. During this time his experience with [[Kodak]] film led him to criticise the film stock as "inherently racist" since it did not reflect the variety, nuance or complexity in dark brown or dark [[Human skin color|skin]]. This was because Kodak [[Shirley cards]] were only made for Caucasian subjects, a problem that was not rectified until 1995.<ref>{{cite news |title=Light And Dark: The Racial Biases That Remain In Photography |url=https://www.npr.org/sections/codeswitch/2014/04/16/303721251/light-and-dark-the-racial-biases-that-remain-in-photography |publisher=NPR |date=16 April 2014 |language=en |access-date=13 September 2022 |archive-date=13 September 2022 |archive-url=https://web.archive.org/web/20220913095752/https://www.npr.org/sections/codeswitch/2014/04/16/303721251/light-and-dark-the-racial-biases-that-remain-in-photography |url-status=live }}</ref>

=== Sonimage ===
In 1972, Godard and his life partner, Swiss filmmaker, Anne-Marie Miéville started the alternative video production and distribution company Sonimage, based in [[Grenoble]]. Under Sonimage, Godard produced ''Comment ca va'', ''[[Number Two (film)|Numéro Deux]]'' (1975) and ''[[Every Man for Himself (1980 film)|Sauve qui peut (la vie)]]'' (1980).<ref name="Electronic Arts Intermix">{{cite web |title=Jean-Luc Godard |url=http://www.eai.org/artistBio.htm?id=345 |url-status=dead |archive-url=https://web.archive.org/web/20120707011909/http://www.eai.org/artistBio.htm?id=345 |archive-date=7 July 2012 |access-date=11 April 2012 |publisher=[[Electronic Arts Intermix]]}}</ref> In 1976, Godard and Miéville, his future wife, collaborated on a series of innovative video works for European broadcast television, titled ''Six fois deux/Sur et sous la communication'' (1976) and ''France/tour/détour/deux/enfants'' (1978).<ref>{{cite web |title=Six Fois Deux / Sur et Sous La Communication [TV Documentary Series] |url=http://www.fandango.com/sixfoisdeuxsuretsouslacommunication%5Btvdocumentaryseries%5D_v44940/plotsummary |url-status=dead |archive-url=https://web.archive.org/web/20130908184438/http://www.fandango.com/sixfoisdeuxsuretsouslacommunication%5Btvdocumentaryseries%5D_v44940/plotsummary |archive-date=8 September 2013 |access-date=11 April 2012 |publisher=Fandango}}</ref> From the time that Godard returned to mainstream filmmaking in 1980, Anne-Marie Miéville remained an important collaborator.<ref name="Electronic Arts Intermix" />

=== Jean-Pierre Gorin ===
After the events of [[May 1968 events in France|May 1968]], when the city of Paris saw a total upheaval in response to the "authoritarian [[Charles de Gaulle|de Gaulle]]", and Godard's professional objective was reconsidered, he began to collaborate with like-minded individuals in the filmmaking arena. His most notable collaborator was [[Jean-Pierre Gorin]], a Maoist student of [[Louis Althusser]], [[Michel Foucault]], and [[Jacques Lacan]], who later became a professor of Film Studies at the [[University of California at San Diego]], with a passion for cinema that attracted Godard's attention.{{sfn|Brody|2008}}

Between 1968 and 1973, Godard and Gorin collaborated to make a total of five films with strong Maoist messages. The most prominent film from the collaboration was ''[[Tout Va Bien]]'' (1972). The film starred [[Jane Fonda]], who was, at the time, the wife of French filmmaker [[Roger Vadim]]. Fonda was at the height of her acting career, having won an [[Academy Award]] for her performance in ''[[Klute]]'' (1971), and had gained notoriety as a left-wing anti-war activist. The male lead was the legendary French singer and actor [[Yves Montand]], who had appeared in prestigious films by [[Henri-Georges Clouzot|Georges Clouzot]], Alain Résnais, [[Sacha Guitry]], [[Vincente Minelli]], [[George Cukor]], and [[Costa-Gavras]].{{sfn|Brody|2008}}

=== Dziga Vertov Group ===
{{Main|Dziga Vertov Group}}
The small group of Maoists that Godard had brought together, which included Gorin, adopted the name Dziga Vertov Group. Godard had a specific interest in [[Dziga Vertov]], a Soviet filmmaker{{--}}who was known for a series of radical documentaries titled "[[Kino Pravda]]" (literally, "film truth") and the late [[silent film|silent-era]] feature film ''[[Man with a Movie Camera]]'' (1929). Vertov was also a contemporary of both Soviet [[Film editing|montage]] theorists, notably [[Sergei Eisenstein]], and Russian [[constructivism (art)|constructivist]] and [[Russian avant garde|avant-garde]] artists such as [[Alexander Rodchenko]] and [[Vladimir Tatlin]]. Part of Godard's political shift after May 1968 was toward a proactive participation in the [[class struggle]] and he drew inspiration from filmmakers associated with the [[Russian Revolution]].<ref>{{cite book |url=https://books.google.com/books?id=N-T_ogXMzlgC&q=dziga+vertov+name&pg=PR18 |title=Kino-eye: the writings of Dziga Vertov |isbn=9780520056305 |access-date=6 March 2010 |last1=Vertov |first1=Dziga |year=1984 |publisher=University of California Press |archive-date=25 February 2022 |archive-url=https://web.archive.org/web/20220225190233/https://books.google.com/books?id=N-T_ogXMzlgC&q=dziga+vertov+name&pg=PR18 |url-status=live }}</ref>

Towards the end of this period of his life, Godard began to feel disappointed with his Maoist ideals and was abandoned by his wife at the time, Anne Wiazemsky. In this context, according to biographer Antoine de Baecque, Godard attempted suicide on two occasions.<ref>{{cite web |last1=Fresko |first1=David |title=Revolutionary Cinematic Suicide, Godard+Gorin: Five Films, 1968–1971 |url=https://brooklynrail.org/2018/06/film/Revolutionary-Cinematic-Suicide |website=The Brooklyn Rail |date=5 June 2018 |access-date=29 November 2020 |archive-date=26 October 2020 |archive-url=https://web.archive.org/web/20201026164837/https://brooklynrail.org/2018/06/film/Revolutionary-Cinematic-Suicide |url-status=live }}</ref>

== Return to commercial films and ''Histoire(s) du cinéma'' (1980–2000) ==
Godard returned to somewhat more traditional fiction with ''[[Sauve qui peut (la vie)]]'' (1980), the first of a series of more mainstream films marked by autobiographical currents: it was followed by ''[[Passion (1982 film)|Passion]]'', ''[[Lettre à Freddy Buache]]'' (both 1982), ''[[Prénom Carmen]]'' (1983), and ''Grandeur et décadence d'un petit commerce de cinéma'' (1986). There was, though, another flurry of controversy with ''[[Je vous salue, Marie]]'' (1985), which was condemned by the [[Roman Catholic Church]] for alleged [[heresy]], and also with ''[[King Lear (1987 film)|King Lear]]'' (1987), a postmodern production of the play by [[William Shakespeare]]. Also completed in 1987 was a segment in the film ''[[Aria (1987 film)|Aria]]'' which was based loosely from the plot of [[Armida|Armide]]; it is set in a gym and uses several [[aria]]s by [[Jean-Baptiste Lully]] from his famous [[Armide (Lully)|''Armide'']].{{sfn|Brody|2008}}

His later films were marked by great formal beauty and frequently a sense of requiem: ''[[Nouvelle Vague (1990 film)|Nouvelle Vague]]'' (''New Wave'', 1990), the autobiographical ''[[JLG/JLG – Self-Portrait in December|JLG/JLG, autoportrait de décembre]]'' (''JLG/JLG: Self-Portrait in December'', 1995), and ''[[For Ever Mozart]]'' (1996).<ref name=NVC/><ref name=JLGJLG/><ref name=FEM/> ''[[Allemagne année 90 neuf zéro]]'' (''Germany Year 90 Nine Zero'', 1991) which is a quasi-sequel to ''Alphaville'', but done with an elegiac tone and focus on the inevitable decay of age.<ref>{{Cite web |title=Deutschland neu(n) null {{!}} Film 1992 |url=https://www.moviepilot.de/movies/deutschland-neu-n-null |access-date=14 September 2022 |website=moviepilot.de |language=de |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004324/https://www.moviepilot.de/movies/deutschland-neu-n-null |url-status=live }}</ref> He won the Medaglia d'oro della Presidenza del Senato for the film.<ref>{{cite web |title=Allemagne neuf zéro |url=https://asac.labiennale.org/attivita/cinema/7719 |publisher=Venice Biennale |access-date=28 May 2024}}</ref> In [[1990 National Society of Film Critics Awards|1990]], Godard was presented with a special award from the [[National Society of Film Critics]].<ref>{{Cite web |date=19 December 2009 |title=Past Awards |url=https://nationalsocietyoffilmcritics.com/about-2/ |access-date=14 September 2022 |website=National Society of Film Critics |language=en |archive-date=29 July 2017 |archive-url=https://web.archive.org/web/20170729100021/https://nationalsocietyoffilmcritics.com/about-2/ |url-status=live }}</ref> Between 1988 and 1998, he produced the multi-part series ''[[Histoire(s) du cinéma]]'', a monumental project which combined all the innovations of his video work with a passionate engagement in the issues of twentieth-century history and the history of film itself.<ref name="TheFreeDictionary.com" />

== Late period films (2001–2022) ==
In 2001, ''[[In Praise of Love (film)|Éloge de l'amour]]'' (''In Praise of Love'') was released. The film is notable for its use of both film and video—the first half captured in 35&nbsp;mm black and white, the latter half shot in color on [[Digital video|DV]]—and subsequently transferred to film for editing.<ref>{{cite web|url=https://www.filmlinc.org/films/in-praise-of-love/|title=In Praise of Love|access-date=16 September 2022|publisher=Filmlinc.org|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920170924/https://www.filmlinc.org/films/in-praise-of-love/|url-status=live}}</ref> The film is also noted for containing themes of ageing, love, separation, and rediscovery as it follows the young artist Edgar in his contemplation of a new work on the four stages of love.<ref>{{Cite web |title=In Praise of Love |url=https://www.boxofficemojo.com/title/tt0181912/ |access-date=14 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004315/https://www.boxofficemojo.com/title/tt0181912/ |url-status=live }}</ref> In ''[[Notre musique]]'' (2004), Godard turned his focus to war, specifically, the [[Siege of Sarajevo|war in Sarajevo]], but with attention to all war, including the [[American Civil War]], the war between the [[American Indian Wars|U.S. and Native Americans]], and the [[Israeli–Palestinian conflict]].<ref name=notre/><ref>{{cite web|url=https://www.unifrance.org/film/24133/notre-musique|title=Notre Musique de Jean-Luc Goddard|publisher=Unifrance.org|language=French|access-date=16 September 2022|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920163419/https://www.unifrance.org/film/24133/notre-musique|url-status=live}}</ref> The film is structured into three [[Dante Alighieri|Dantean]] kingdoms: [[Divine Comedy|Hell, Purgatory, and Paradise]].<ref name=notre/> Godard's fascination with paradox is constant in the film. It opens with a long, ponderous montage of war images that occasionally lapses into the comic; Paradise is shown as a lush wooded beach patrolled by [[U.S. Marines]].<ref>{{Cite web |title=Notre musique |url=https://www.boxofficemojo.com/title/tt0360845/ |access-date=14 September 2022 |website=Box Office Mojo |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914004322/https://www.boxofficemojo.com/title/tt0360845/ |url-status=live }}</ref><ref name=notre/>

Godard's film ''[[Film Socialisme]]'' (2010) premiered in the [[Un Certain Regard]] section at the [[2010 Cannes Film Festival]].<ref>{{cite web |url=http://www.justpressplay.net/movies/movie-news/5284-new-godard-qsocialismeq.html |archive-url=https://archive.today/20120803150937/http://www.justpressplay.net/movies/movie-news/5284-new-godard-qsocialismeq.html |url-status=dead |archive-date=3 August 2012 |title=New Godard: "Socialisme" |publisher=Justpressplay.net |date=8 May 2009 |access-date=6 March 2010 }}</ref><ref>{{cite news |url=http://www.hollywoodreporter.com/hr/content_display/world/news/e3i3d82e5b089623802884efcd38a037f67?pn=2 |title=Hollywood Reporter: Cannes Lineup |access-date=16 April 2010 |work=[[The Hollywood Reporter]] |url-status=dead |first=Rebecca |last=Leffler |date=15 April 2010 |archive-url=https://web.archive.org/web/20100422212018/http://www.hollywoodreporter.com/hr/content_display/world/news/e3i3d82e5b089623802884efcd38a037f67?pn=2 |archive-date=22 April 2010}}</ref> It was released theatrically in France in May 2010. Godard was rumoured to be considering directing a film adaptation of [[Daniel Mendelsohn]]'s ''[[The Lost: A Search for Six of Six Million]]'', an award-winning book about the Holocaust.<ref>{{cite news |url=http://www.hollywoodreporter.com/hr/content_display/film/news/e3i3506b270c4e1b2d9d5284c9d1c969734 |title=Holocaust Tale Piques Auteur |work=The Hollywood Reporter |date=3 June 2009 |url-status=dead |first=Steven |last=Zeitchik |archive-url=https://web.archive.org/web/20100102184113/http://www.hollywoodreporter.com/hr/content_display/film/news/e3i3506b270c4e1b2d9d5284c9d1c969734 |archive-date=2 January 2010}}</ref> In 2013, Godard released the short ''Les trois désastres'' (''The Three Disasters'') as part of the omnibus film ''3X3D'' with filmmakers [[Peter Greenaway]] and [[Edgar Pera]].<ref>{{cite web |url=http://www.stereoscopynews.com/hotnews/3d-movies/3d-shorts/2954-3x3d-a-3d-stereoscopic-feature-from-jean-luc-godard-peter-greenaway-and-edgar-pera.html |title=3X3D, a 3D Stereoscopic Feature from Jean-Luc Godard, Peter Greenaway, and Edgar Pera |publisher=Stereoscopy News |date=9 February 2013 |access-date=9 February 2013 |archive-date=8 July 2013 |archive-url=https://web.archive.org/web/20130708193823/http://www.stereoscopynews.com/hotnews/3d-movies/3d-shorts/2954-3x3d-a-3d-stereoscopic-feature-from-jean-luc-godard-peter-greenaway-and-edgar-pera.html |url-status=live }}</ref> ''3X3D'' premiered at the [[2013 Cannes Film Festival]].<ref>{{cite web |url=http://www.hollywoodreporter.com/review/3x3d-cannes-review-560708 |title=3x3D: Cannes Review |work=The Hollywood Reporter |date=30 May 2013 |access-date=4 July 2013 |archive-date=12 June 2013 |archive-url=https://web.archive.org/web/20130612023844/http://www.hollywoodreporter.com/review/3x3d-cannes-review-560708 |url-status=live }}</ref> His 2014 film ''[[Goodbye to Language]]'', shot in [[3D film|3-D]],<ref>{{cite web |author=craig keller. |url=https://cinemasparagus.blogspot.com/2011/09/adieu-au-langage-jean-luc-godard-5-x-45.html |title=Cinemasparagus: Adieu Au Langage / Jean-Luc Godard / 5 x 45-Minute Interview This Week |publisher=Cinemasparagus.blogspot.com |date=13 September 2011 |access-date=29 December 2011 |archive-date=4 January 2012 |archive-url=https://web.archive.org/web/20120104191935/http://cinemasparagus.blogspot.com/2011/09/adieu-au-langage-jean-luc-godard-5-x-45.html |url-status=live }}</ref><ref>{{cite web |url=http://mubi.com/notebook/posts/daily-briefing-jlg-benningcassavetes-jia-zhao |title=Daily Briefing. JLG, Benning/Cassavetes, Jia + Zhao on Notebook |publisher=[[MUBI]] |date=13 September 2011 |access-date=29 December 2011 |archive-date=30 December 2011 |archive-url=https://web.archive.org/web/20111230050045/http://mubi.com/notebook/posts/daily-briefing-jlg-benningcassavetes-jia-zhao |url-status=live }}</ref> revolves around a couple who cannot communicate with each other until their pet dog acts as an interpreter for them. The film makes reference to a wide range of influences such as paintings by [[Nicolas de Staël]] and the writing of William Faulkner, as well as the work of mathematician [[Laurent Schwartz]] and dramatist Bertolt Brecht—one of Godard's most important influences.<ref name="BBC"/> It was selected to compete for the [[Palme d'Or]] in the main competition section at the [[2014 Cannes Film Festival]], where it won the [[Jury Prize (Cannes Film Festival)|Jury Prize]].<ref>{{cite web |url=http://www.festival-cannes.com/en/archives/awardCompetition.html |title=Awards 2014: Competition |access-date=25 May 2014 |work=Cannes |url-status=dead |archive-url=https://web.archive.org/web/20131023133531/http://www.festival-cannes.com/en/archives/awardCompetition.html |archive-date=23 October 2013}}</ref> Godard's non-traditional script for the film was described as a collage of handwritten text and images, and an "artwork" itself.<ref>{{cite web |url=https://www.fandor.com/keyframe/daily-on-the-set-of-godards-adieu-au-langage |last=Hudson |first=David |title=On the Set of Godard's ADIEU AU LANGAGE |publisher=Keyframe ([[Fandor (film site)|Fandor]]) |location=San Francisco, CA |date=13 June 2013 |access-date=24 September 2022 |archive-date=24 September 2022 |archive-url=https://web.archive.org/web/20220924090012/https://www.fandor.com/keyframe/daily-on-the-set-of-godards-adieu-au-langage |url-status=dead }}</ref>

In 2015 [[J. Hoberman]] reported that Godard was working on a new film.<ref>{{cite news |last=Hoberman |first=J. |title=Brother From Another Planet |url=http://www.thenation.com/article/199081/brother-another-planet |work=The Nation |date=24 February 2015 |access-date=1 March 2015 |archive-date=28 February 2015 |archive-url=https://web.archive.org/web/20150228224820/http://www.thenation.com/article/199081/brother-another-planet |url-status=live }}</ref> Initially titled ''Tentative de bleu'',<ref>{{cite web |url=http://www.rsi.ch/rete-uno/programmi/intrattenimento/ciak/Ciak-News-295-cos%C3%A8-il-cinema-4619437.html |title=Ciak News 295: cos'è il cinema |publisher=Radiotelevisione svizzera |language=it |date=5 September 2015 |access-date=26 October 2016 |archive-date=22 November 2018 |archive-url=https://web.archive.org/web/20181122141625/https://www.rsi.ch/rete-uno/programmi/intrattenimento/ciak/Ciak-News-295-cos%C3%A8-il-cinema-4619437.html |url-status=live }}</ref> in December 2016 [[Wild Bunch (company)|Wild Bunch]] co-chief Vincent Maraval stated that Godard had been shooting ''Le livre d'image'' (''[[The Image Book]]'') for almost two years "in various Arab countries, including Tunisia" and that it is an examination of the modern Arab World."Godard presented the film at several international festivals, where it received a Special Palme d'Or at the 2018 Cannes Film Festival.<ref>{{cite web|title=Cannes 2018: Jean-Luc Godard awarded Special Palme d'Or|url=https://www.bbc.com/news/entertainment-arts-44180096|website=BBC News|date=19 May 2018|access-date=12 August 2025}}</ref>
''Le livre d'image'' was first shown in May 2018 at the Cannes Film Festival, and later released more widely in November 2018.<ref>{{cite web |url=https://www.imdb.com/title/tt8269552/releaseinfo |title=Le Livre d'image – Release Info |website=IMDb |access-date=13 August 2025}}</ref><ref>{{cite web |url=http://www.screendaily.com/news/new-jean-luc-godard-omar-sy-films-on-2017-wild-bunch-slate/5112472.article |last=Goodfellow |first=Melanie |title=New Jean-Luc Godard, Omar Sy films on 2017 Wild Bunch slate |work=Screen Daily |date=27 December 2016 |access-date=1 January 2017 |archive-date=31 December 2016 |archive-url=https://web.archive.org/web/20161231083622/http://www.screendaily.com/news/new-jean-luc-godard-omar-sy-films-on-2017-wild-bunch-slate/5112472.article |url-status=live}}</ref> On 4 December 2019, an art installation piece created by Godard opened at the [[Fondazione Prada]] in Milan. Titled ''Le Studio d'Orphée'', the installation is a recreated workspace and includes editing equipment, furniture, and other materials used by Godard in [[post-production]].<ref>{{cite web |url=https://www.anothermag.com/design-living/12127/new-wave-auteur-jean-luc-godard-has-recreated-his-studio-in-milan |title=Why New Wave Auteur Jean-Luc Godard Has Recreated His Studio in Milan |last=Woodward |first=Daisy |publisher=AnOther Publishing Ltd. |date=4 December 2019 |access-date=7 December 2019 |archive-date=5 December 2019 |archive-url=https://web.archive.org/web/20191205031717/https://www.anothermag.com/design-living/12127/new-wave-auteur-jean-luc-godard-has-recreated-his-studio-in-milan |url-status=live }}</ref>

In 2020, Godard told ''[[Les Inrockuptibles]]'' that his new film would be about a [[Yellow vests protests|Yellow vest protestor]], and indicated that along with archival footage "there will also be a shoot. I don't know if I will find what are called actors...I would like to film the people we see on news channels but by plunging them into a situation where documentary and fiction come together."<ref>{{cite news |url=https://www.lesinrocks.com/cinema/jean-luc-godard-linterview-exclusive-de-2019-173465-17-07-2020/ |last1=Deruisseau |first1=Bruno |last2=Lalanne |first2=Jean-Marc |title=On a parlé des Gilets jaunes, de collapsologie et de psychanalyse avec Jean-Luc Godard |work=Les Inrockuptibles |date=17 July 2020 |access-date=24 September 2022 |archive-date=24 September 2022 |archive-url=https://web.archive.org/web/20220924082014/https://www.lesinrocks.com/cinema/jean-luc-godard-linterview-exclusive-de-2019-173465-17-07-2020/ |url-status=live }}</ref> In March 2021 he said that he was working on two new films during a [[Videotelephony|virtual interview]] at the [[International Film Festival of Kerala]]. Godard stated "I'm finishing my movie life {{Emdash}} yes, my moviemaker life {{Emdash}} by doing two scripts...After, I will say, 'Goodbye, cinema.{{'"}}<ref>{{cite web |url=https://www.youtube.com/watch?v=nwquFZlitTU |title=Jean-Luc Godard in conversation with C S Venkiteswaran 25th IFFK |publisher=International Film Festival of Kerala (YouTube) |date=2 March 2021 |access-date=24 September 2022 |archive-date=24 September 2022 |archive-url=https://web.archive.org/web/20220924082014/https://www.youtube.com/watch?v=nwquFZlitTU |url-status=live }}</ref>

In July 2021, cinematographer and long time collaborator [[Fabrice Aragno]] said that work on the films was going slowly and Godard was more focused on "books, on the ideas of the film, and less in the making." Godard suggested making a film like [[Chris Marker]]'s ''[[La Jetée]]'' to "come back to his origin." Much of the film would be shot on 35mm, 16mm and 8mm film, but the expense of [[Film stock|celluloid film stock]] and the [[COVID-19 pandemic]] stalled production. Aragno expected to shoot test footage that fall. He added that the second film was for the [[Arte]] channel in France.<ref>{{cite news |url=https://variety.com/2021/film/global/jean-luc-godard-final-film-fabrice-aragno-debut-1235014630/ |last=Thorne |first=Will |title=Frequent Jean-Luc Godard Collaborator Fabrice Aragno on His Feature Debut and Making Godard's 'Final Gesture' |work=Variety |date=9 July 2021 |access-date=24 September 2022 |archive-date=24 September 2022 |archive-url=https://web.archive.org/web/20220924082014/https://variety.com/2021/film/global/jean-luc-godard-final-film-fabrice-aragno-debut-1235014630/amp/ |url-status=live }}</ref> The first of the two films, a 20-minute short titled ''[[Trailer of the Film That Will Never Exist: "Phony Wars"]]'', premiered at the [[2023 Cannes Film Festival]], in collaboration with [[Yves Saint Laurent (brand)|St. Laurent]]. The second and final posthumous short, ''Scenarios'', left unfinished at the time of Godard's death, was finished by Aragno and Jean-Paul Battagia and will have its world premiere at the [[2024 Cannes Film Festival]].<ref name=thorne>{{cite news |url=https://www.indiewire.com/features/general/the-weeknd-the-idol-hbo-problem-1234815606/ |last=Kohn |first=Eric |title=HBO's 'The Idol' Controversy Suggests The Weeknd Has an Auteur Problem (Column) |work=Indiewire |date=4 March 2023 |access-date=4 March 2023 |archive-date=6 March 2023 |archive-url=https://web.archive.org/web/20230306011838/https://www.indiewire.com/2023/03/the-weeknd-the-idol-hbo-problem-1234815606/amp/ |url-status=live }}</ref><ref>{{Cite web |date=25 April 2024 |title=Cannes Classics 2024 |url=https://www.festival-cannes.com/en/press/press-releases/cannes-classics-2024/ |access-date=26 April 2024 |website=Festival de Cannes |language=en-US}}</ref>

Aragno said that he did not think that either film would be Godard's last film, adding "I say this often that ''[[In Praise of Love (film)|Éloge de l'amour]]'' was the beginning of his last gesture. These five, or six or seven films are connected to each other in a way, they're not just full stops. It's not just one painting."<ref name=thorne/>

== Personal life and death ==
Godard was married to two of his leading women: [[Anna Karina]] (1961–1965)<ref name=":1">{{cite news |url=https://www.vogue.com/article/anna-karina-jean-luc-godard-films-marriage |title=Anna Karina on Loving and Working With Jean-Luc Godard |last=Garcia |first=Patricia |date=10 May 2016 |work=Vogue |access-date=9 October 2017 |archive-date=25 January 2020 |archive-url=https://web.archive.org/web/20200125061440/https://www.vogue.com/article/anna-karina-jean-luc-godard-films-marriage |url-status=live }}</ref> and [[Anne Wiazemsky]] (1967–1979).<ref name="Wiazemsky">{{cite news |last=Roberts |first=Sam |date=5 October 2017 |url=https://www.nytimes.com/2017/10/05/obituaries/anne-wiazemsky-french-film-star-and-novelist-dies-at-70.html |title=Anne Wiazemsky, Film Star, Wife of Godard and Author, Dies at 70 |work=The New York Times |access-date=10 October 2017 |archive-date=9 October 2017 |archive-url=https://web.archive.org/web/20171009195754/https://www.nytimes.com/2017/10/05/obituaries/anne-wiazemsky-french-film-star-and-novelist-dies-at-70.html |url-status=live }}</ref> Beginning in 1970, he collaborated personally and professionally with [[Anne-Marie Miéville]]. Godard lived with Miéville in [[Rolle]], Switzerland, from 1978 onwards,<ref>{{cite news |url=https://www.independent.co.uk/arts-entertainment/films/features/redoubtable-jean-luc-godard-michel-hazanavicius-stacy-martin-artist-image-book-a8341081.html |title='A lot of people hate Jean-Luc Godard': 'The Artist' director Michel Hazanavicius on making 'Redoubtable' |date=8 May 2018 |work=[[The Independent]] |access-date=4 November 2019 |archive-date=4 November 2019 |archive-url=https://web.archive.org/web/20191104191035/https://www.independent.co.uk/arts-entertainment/films/features/redoubtable-jean-luc-godard-michel-hazanavicius-stacy-martin-artist-image-book-a8341081.html |url-status=live }}</ref> and was described by his former wife Karina as a "recluse".<ref name=":2">{{cite news |url=https://www.theguardian.com/film/2016/jan/21/anna-karina-on-love-cinema-and-being-jean-luc-godards-muse-i-didnt-want-to-be-alive-anymore |title=Anna Karina on love, cinema and being Jean-Luc Godard's muse: 'I didn't want to be alive any more' |date=21 January 2016 |work=[[The Guardian]] |access-date=4 November 2019 |archive-date=10 February 2020 |archive-url=https://web.archive.org/web/20200210202926/https://www.theguardian.com/film/2016/jan/21/anna-karina-on-love-cinema-and-being-jean-luc-godards-muse-i-didnt-want-to-be-alive-anymore |url-status=live }}</ref> Godard married Miéville in the 2010s, according to Patrick Jeanneret, an adviser to Godard.<ref name=WaPo2022-09-13>{{cite news |last1=Bernstein |first1=Adam |title=Jean-Luc Godard, rule-breaking master of French cinema, dies at 91 |url=https://www.washingtonpost.com/obituaries/2022/09/13/jean-luc-godard-french-new-wave-dies/ |access-date=21 September 2022 |newspaper=The Washington Post |date=13 September 2022 |quote=His legal and tax adviser, Patrick Jeanneret, confirmed the cause was assisted suicide and said a recent medical report indicated Mr. Godard had what he termed "multiple invalidating pathologies." ... Since the early 1970s, he had been the companion and collaborator of the Swiss filmmaker Anne-Marie Miéville, his only immediate survivor. They married about 10 years ago, Jeanneret said. |archive-date=3 December 2022 |archive-url=https://web.archive.org/web/20221203023256/https://www.washingtonpost.com/obituaries/2022/09/13/jean-luc-godard-french-new-wave-dies/ |url-status=live }}</ref>

His relationship with Karina in particular produced some of his most critically acclaimed films,<ref name="The Independent-2016">{{cite news |url=https://www.independent.co.uk/news/people/jean-luc-godards-muse-anna-karina-on-why-she-refused-to-star-in-breatless-a6869871.html |title=Jean Luc Godard's muse Anna Karina on why she refused to star in 'Breatless' |date=12 February 2016 |work=The Independent |access-date=13 January 2018 |archive-date=21 August 2020 |archive-url=https://web.archive.org/web/20200821111840/https://www.independent.co.uk/news/people/jean-luc-godards-muse-anna-karina-on-why-she-refused-to-star-in-breatless-a6869871.html |url-status=live }}</ref> and their relationship was widely publicised: ''[[The Independent]]'' described them as "one of the most celebrated pairings of the 1960s".<ref name="The Independent-2016" /> ''[[Filmmaker (magazine)|Filmmaker]]'' magazine called their collaborations "arguably the most influential body of work in the history of cinema."<ref name="Zahedi"/>

According to Karina, their relationship was tumultuous.<ref name=":1" /><ref name=":2" /><ref>{{Cite news |last=Brooks |first=Xan |date=21 January 2016 |title=Anna Karina on love, cinema and being Jean-Luc Godard's muse: 'I didn't want to be alive any more' |language=en-GB |work=The Guardian |url=https://www.theguardian.com/film/2016/jan/21/anna-karina-on-love-cinema-and-being-jean-luc-godards-muse-i-didnt-want-to-be-alive-anymore |access-date=7 April 2023 |issn=0261-3077 |archive-date=10 February 2020 |archive-url=https://web.archive.org/web/20200210202926/https://www.theguardian.com/film/2016/jan/21/anna-karina-on-love-cinema-and-being-jean-luc-godards-muse-i-didnt-want-to-be-alive-anymore |url-status=live }}</ref> Later in life, Karina said they no longer spoke to each other.<ref name=":2" />

Through his father,{{sfn|MacCabe|2005|loc=[https://books.google.com/books?id=9KqfAgAAQBAJ&pg=PA39 p. 39]}} he was the cousin of [[Pedro Pablo Kuczynski]], former [[President of Peru]].<ref>{{cite magazine|date=10 June 2016|title=A Surprising Coalition Brings A New Leader To Peru|url=http://www.newyorker.com/news/news-desk/a-surprising-coalition-brings-a-new-leader-to-peru|magazine=[[The New Yorker]]|access-date=28 July 2017|archive-date=19 January 2018|archive-url=https://web.archive.org/web/20180119121714/https://www.newyorker.com/news/news-desk/a-surprising-coalition-brings-a-new-leader-to-peru|url-status=live}}</ref>

In 2017, [[Michel Hazanavicius]] directed a film about Godard, ''[[Redoubtable (film)|Redoubtable]]'', based on the memoir ''One Year After'' ({{Langx|fr|link=no|Un an après}}; 2015) by Wiazemsky.<ref name="Wiazemsky" /> It centers on his life in the late 1960s, when he and Wiazemsky made films together. The film premiered at the [[Cannes Film Festival]] in 2017.<ref>{{cite news |url=http://www.latimes.com/entertainment/movies/la-et-mn-godard-movie-redoubtable-20170528-story.html |title=Cannes 2017: New movie about Jean-Luc Godard, from 'The Artist' director, shows auteurs can be funny too |last=Zeitchik |first=Steven |date=28 May 2017 |work=[[Los Angeles Times]] |access-date=9 October 2017 |archive-date=10 October 2017 |archive-url=https://web.archive.org/web/20171010004755/http://www.latimes.com/entertainment/movies/la-et-mn-godard-movie-redoubtable-20170528-story.html |url-status=live }}</ref> Godard said that the film was a "stupid, stupid idea".<ref>{{cite web |last1=Horton |first1=Perry |title=Godard on Godard Biopic: 'Stupid, Stupid Idea.' But the Show Goes On |url=https://filmschoolrejects.com/godard-on-godard-biopic-stupid-stupid-idea-but-the-show-goes-on-e4d1fa35f5bc/ |website=Film School Rejects |date=29 March 2017 |publisher=FilmSchoolRejects |access-date=16 April 2018 |archive-date=17 April 2018 |archive-url=https://web.archive.org/web/20180417023008/https://filmschoolrejects.com/godard-on-godard-biopic-stupid-stupid-idea-but-the-show-goes-on-e4d1fa35f5bc/ |url-status=live }}</ref>

[[Agnes Varda]]'s 2017 documentary ''[[Faces Places (film)|Faces Places]]'' culminates with Varda and co-director [[JR (artist)|JR]] knocking on Godard's front door in Rolle for an interview. Godard agreed to the meeting but he "stands them up".<ref>{{cite news |url=https://www.indiewire.com/2019/09/agnes-varda-daughter-rosalie-interview-1202171080/ |last=Kohn |first=Eric |title=Agnès Varda's Daughter on Her Mother's Death and the Future of Her Archive |publisher=Indiewire |date=5 September 2019 |access-date=26 September 2022 |archive-date=26 September 2022 |archive-url=https://web.archive.org/web/20220926071643/https://www.indiewire.com/2019/09/agnes-varda-daughter-rosalie-interview-1202171080/ |url-status=live }}</ref> His nephew and assistant {{ill|Paul Grivas|qid=Q112504828|short=yes}} directed the 2018 documentary ''[[Film Catastrophe]]'', which included behind-the-scenes footage, shot on the ''[[Costa Concordia]]'' cruise ship by Grivas during the making of ''Film Socialism'', of Godard working with actors and directing the film.<ref>{{cite magazine |url=https://www.newyorker.com/culture/the-front-row/film-catastrophe-the-making-of-a-godard-film-that-anticipated-a-real-life-disaster |last=Brody |first=Richard |title="Film Catastrophe": The Making of a Godard Film that Anticipated a Real-Life Disaster |magazine=The New Yorker |date=19 April 2019 |access-date=13 October 2022 |archive-date=14 October 2022 |archive-url=https://web.archive.org/web/20221014050449/https://www.newyorker.com/culture/the-front-row/film-catastrophe-the-making-of-a-godard-film-that-anticipated-a-real-life-disaster |url-status=live }}</ref> Godard participated in the 2022 documentary ''{{ill|See You Friday, Robinson|fr|À vendredi, Robinson}}''. Director [[Mitra Farahani]] initiated an email exchange between Godard and Iranian filmmaker [[Ebrahim Golestan]], with emailed text letters from Golestan and "videos, images, and aphorism" responses from Godard.<ref>{{cite news |url=https://variety.com/2021/film/news/jean-luc-godard-documentary-ebrahim-golestan-iran-1235034242/ |last=Vivarelli |first=Nick |title=Jean-Luc Godard Non-Conventional Documentary 'See You Friday Robinson' Set For Festival Circuit (EXCLUSIVE) |work=Variety |date=5 August 2021 |access-date=25 September 2022 |archive-date=26 September 2022 |archive-url=https://web.archive.org/web/20220926071643/https://variety.com/2021/film/news/jean-luc-godard-documentary-ebrahim-golestan-iran-1235034242/ |url-status=live }}</ref>

At the age of 91, Godard died on 13 September 2022, at his home in Rolle. His death was reported as an [[Euthanasia in Switzerland|assisted suicide procedure]], which is legal in Switzerland.<ref>{{Cite web |title=Jean-Luc Godard a eu recours au suicide assisté: "Il n'était pas malade, il était simplement épuisé" |trans-title=Jean-Luc Godard resorted to assisted suicide: "He was not sick, he was simply exhausted" |url=https://www.liberation.fr/culture/jean-luc-godard-est-mort-20220913_LLEGXZFQSFDC3FBJCP7AWXSYWI/ |access-date=13 September 2022 |website=Libération |language=fr |archive-date=13 September 2022 |archive-url=https://web.archive.org/web/20220913120750/https://www.liberation.fr/culture/jean-luc-godard-est-mort-20220913_LLEGXZFQSFDC3FBJCP7AWXSYWI/ |url-status=live }}</ref><ref>{{cite news |last1=Pulver |first1=Andrew |title=Jean-Luc Godard, giant of the French new wave, dies at 91 |url=https://www.theguardian.com/film/2022/sep/13/jean-luc-godard-giant-of-the-french-new-wave-dies-at-91 |work=The Guardian |date=13 September 2022 |language=en |access-date=13 September 2022 |archive-date=13 September 2022 |archive-url=https://web.archive.org/web/20220913083625/http://www.theguardian.com/film/2022/sep/13/jean-luc-godard-giant-of-the-french-new-wave-dies-at-91 |url-status=live }}</ref><ref>{{cite news | url=https://www.swissinfo.ch/fre/le-cin%C3%A9aste-jean-luc-godard-est-d%C3%A9c%C3%A9d%C3%A9-%C3%A0-l-%C3%A2ge-de-91-ans/47896180 | title=Le cinéaste Jean-Luc Godard est décédé à l'âge de 91 ans |trans-title=Filmmaker Jean-Luc Godard dies aged 91 | publisher=Swissinfo | date=13 September 2022 | access-date=13 September 2022 | archive-date=13 September 2022 | archive-url=https://web.archive.org/web/20220913094913/https://www.swissinfo.ch/fre/le-cin%C3%A9aste-jean-luc-godard-est-d%C3%A9c%C3%A9d%C3%A9-%C3%A0-l-%C3%A2ge-de-91-ans/47896180 | url-status=live }}</ref><ref>{{cite web | url=https://apnews.com/article/jean-luc-godard-dead-ab2fc0cb0e83666334720f0fd392fcd0 | title=Iconic French New Wave director Jean-Luc Godard dead at 91 | work=[[Associated Press News]] | date=13 September 2022 | access-date=14 September 2022 | archive-date=14 September 2022 | archive-url=https://web.archive.org/web/20220914222901/https://apnews.com/article/jean-luc-godard-dead-ab2fc0cb0e83666334720f0fd392fcd0 | url-status=live }}</ref> Godard's legal advisor said that he had "multiple disabling pathologies",<ref name=NYTObit/> but a family member said that "He was not sick, he was simply exhausted".<ref>{{cite web |url=https://www.indiewire.com/2022/09/jean-luc-godard-tributes-1234762242/ |last=Bergeson |first=Samantha |title=Hollywood Remembers Jean-Luc Godard: Filmmakers Pay Tribute to New Wave Iconoclast |publisher=Indiewire |date=15 September 2022 |access-date=24 September 2022 |archive-date=23 September 2022 |archive-url=https://web.archive.org/web/20220923231945/https://www.indiewire.com/2022/09/jean-luc-godard-tributes-1234762242/ |url-status=live }}</ref> Miéville was by his side when he died. His body was cremated and there was no funeral service.<ref>{{cite news |url=https://www.lemonde.fr/en/culture/article/2022/09/13/jean-luc-godard-died-by-assisted-suicide-confirms-legal-advisor_5996811_30.html |title=Jean-Luc Godard died by assisted suicide, legal adviser confirms |publisher=La Monde |date=13 September 2022 |access-date=25 September 2022 |archive-date=26 September 2022 |archive-url=https://web.archive.org/web/20220926064356/https://www.lemonde.fr/en/culture/article/2022/09/13/jean-luc-godard-died-by-assisted-suicide-confirms-legal-advisor_5996811_30.html |url-status=live }}</ref>

== Legacy ==
[[File:Godard pochoir.jpg|thumb|A stencil depicting Godard on a wall in Montreal.]]
Godard has been recognised as one of the most influential filmmakers of the 20th century and one of the leaders of the French New Wave.<ref>{{cite web |author1=Carl Holm |title=Nouvelle Vague filmmaker Jean-Luc Godard at 90 |url=https://www.dw.com/en/nouvelle-vague-filmmaker-jean-luc-godard-at-90/a-55793767 |website=DW |publisher=Deutsche Welle |access-date=3 January 2022 |date=3 December 2020 |archive-date=3 January 2022 |archive-url=https://web.archive.org/web/20220103075128/https://www.dw.com/en/nouvelle-vague-filmmaker-jean-luc-godard-at-90/a-55793767 |url-status=live }}</ref>

Film critic Pauline Kael suggests that what made young people so drawn to Godard was the disturbing quality of this work.<ref>{{Cite web |title=The Age of Movies: Selected Writings of Pauline Kael (paperback) |url=https://www.loa.org/books/348-the-age-of-movies-selected-writings-of-pauline-kael-paperback/ |access-date=2025-10-06 |website=Library of America |language=en-US}}</ref>

In 1969, film critic [[Roger Ebert]] wrote about Godard's importance in cinema:

{{Blockquote|Godard is a director of the very first rank; no other director in the 1960s has had more influence on the development of the feature-length film. Like [[James Joyce|Joyce]] in fiction or [[Samuel Beckett|Beckett]] in theater, he is a pioneer whose present work is not acceptable to present audiences. But his influence on other directors is gradually creating and educating an audience that will, perhaps in the next generation, be able to look back at his films and see that this is where their cinema began.<ref>{{cite web |author1=Roger Ebert |title=On Jean-Luc Godard |url=https://www.rogerebert.com/roger-ebert/on-jean-luc-godard |website=RogerEbert.com LLC |access-date=3 January 2022 |date=April 30, 1969 |archive-date=3 January 2022 |archive-url=https://web.archive.org/web/20220103075129/https://www.rogerebert.com/roger-ebert/on-jean-luc-godard |url-status=live }}</ref>}}In 2001, Ebert recalled his early days as a critic, writing "As much as we talked about [[Quentin Tarantino|Tarantino]] after ''[[Pulp Fiction]]'', we talked about Godard in those days."<ref>{{Cite news |last=Ebert |first=Roger |year=2001 |title=My Life to Live |work=[[Chicago Sun-Times]] |url=https://www.rogerebert.com/reviews/great-movie-vivre-sa-vie--my-life-to-live-1963 |access-date=3 February 2023 |archive-date=12 June 2020 |archive-url=https://web.archive.org/web/20200612004516/https://www.rogerebert.com/reviews/great-movie-vivre-sa-vie--my-life-to-live-1963 |url-status=live }}</ref> Tarantino named his production company [[A Band Apart]], a reference to Godard's [[Bande à part (film)|1964 film]].<ref name="BBC"/> Tarantino says that "To me Godard did to movies what [[Bob Dylan]] did to music. They both revolutionized their forms."<ref name=NYTObit/>

Godard's works and innovations have received praise from notable directors such as [[Michelangelo Antonioni]],<ref>{{cite book |author1=Bert Cardullo |author2=Michelangelo Antonioni |title=Michelangelo Antonioni – Interviews |date=2008 |publisher=University Press of Mississippi |isbn=9781934110652 |page=94}}</ref> [[Satyajit Ray]].,<ref>{{cite book |title=Satyajit Ray on Cinema |date=2 April 2013 |publisher=Columbia University Press |isbn=9780231535472 |page=99}}</ref> and [[George Lucas]].<ref>{{Cite AV media |url=https://www.youtube.com/watch?v=LttLdy_r-Hw |title=George Lucas, la guerre en étoiles - L’Œil de Pierre Lescure - C à vous - 27/05/2024 |date=2024-05-27 |last=C à vous - France Télévisions |access-date=2025-07-01 |via=YouTube}}</ref> [[Fritz Lang]] agreed to take part in Godard's film ''[[Le Mépris]]'' due to his admiration of Godard as a director.<ref>{{cite book |author1=Wheeler W. Dixon |title=The Films of Jean-Luc Godard |date=6 March 1997 |publisher=State University of New York Press |isbn=9780791432860 |page=42 |quote=Fritz Lang accepted because he admired Godard's work as a director, and agreed to act in the [[Le Mépris|film]], but to act only, and not interfere with Godard's creative process as a filmmaker.}}</ref> [[Akira Kurosawa]] listed ''[[Breathless (1960 film)|Breathless]]'' as one of his 100 favourite films.<ref>{{cite web|author=Lee Thomas-Mason|title=From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time|url=https://faroutmagazine.co.uk/akira-kurosawa-100-favourite-films-list/|website=Far Out|date=12 January 2021|publisher=Far Out Magazine|access-date=21 August 2021|archive-date=10 June 2021|archive-url=https://web.archive.org/web/20210610003407/https://faroutmagazine.co.uk/akira-kurosawa-100-favourite-films-list/|url-status=live}}</ref><ref>{{cite web|title=Akira Kurosawa's Top 100 Movies!|url=http://wildgrounds.com/index.php/2009/01/17/akira-kurosawas-top-100-movies/|url-status=dead|archive-url=https://web.archive.org/web/20100327124349/http://wildgrounds.com/index.php/2009/01/17/akira-kurosawas-top-100-movies/|archive-date=27 March 2010}}</ref> [[Ingmar Bergman]] strongly disliked Godard, stating: "I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. He's made his films for the critics. One of the movies, ''Masculin Féminin'' (1966), was shot here in Sweden. It was mind-numbingly boring."<ref>{{Cite web|date=11 August 2021|title=The reason why Ingmar Bergman hated Jean-Luc Godard movies|url=https://faroutmagazine.co.uk/why-ingmar-bergman-hated-jean-luc-godard-films/|access-date=15 October 2023|website=faroutmagazine.co.uk|language=en-US|archive-date=17 October 2023|archive-url=https://web.archive.org/web/20231017222043/https://faroutmagazine.co.uk/why-ingmar-bergman-hated-jean-luc-godard-films/|url-status=live}}</ref> [[Orson Welles]] admired Godard as a director but criticized him as a thinker, telling [[Peter Bogdanovich]]: "He is the definitive ''influence'' if not really the first great film artist of this last decade, and his gifts as a director are enormous. I just can't take him very seriously as a ''thinker''—and that's where we seem to differ, because ''he'' does."<ref>{{Cite book |last=Bogdanovich |first=Peter |title=[[This is Orson Welles]] |edition=Revised |pages=139}}</ref><ref>{{cite web |author1=Glenn Kenny |title=The Other Side of the Wind |url=https://www.rogerebert.com/reviews/the-other-side-of-the-wind-2018 |website=RogerEbert.com LLC. |access-date=14 September 2022 |date=2 November 2018 |quote=In that book Welles says of Godard, "What's most admirable about him is his marvelous contempt for the machinery of movies and even movies themselves—a kind of anarchistic, nihilistic contempt for the medium—which, when he's at his best and most vigorous, is very exciting." |archive-date=14 September 2022 |archive-url=https://web.archive.org/web/20220914161748/https://www.rogerebert.com/reviews/the-other-side-of-the-wind-2018 |url-status=live }}</ref>

[[David Thomson (film critic)|David Thomson]] reached a similar conclusion, writing that "Godard's greatness rests in his grasping of the idea that films are made of moving images, of moments from films, of images projected in front of audiences" but that "He knows only cinema: on politics and real life he is childish and pretentious." Still, Thomson calls Godard's early films "a magnificent critical explanation of American movies" and "one of the inescapable bodies of work" and deserving of retrospectives.<ref>{{Cite book |last=Thomson |first=David |title=[[The New Biographical Dictionary of Film]] |year=2010 |edition=Fifth |pages=384–385}}</ref> Thomson included ''[[Pierrot le Fou]]'' on his '' [[Sight and Sound|Sight & Sound]]'' list.<ref>{{Cite journal |last=Thomson |first=David |year=2012 |title=David Thomson's Top Ten |url=https://www2.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/667 |archive-url=https://web.archive.org/web/20160818140915/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/667 |url-status=dead |archive-date=18 August 2016 |journal=[[Sight and Sound]]}}</ref> Political activist, critic and filmmaker [[Tariq Ali]] listed Godard's film ''[[Tout Va Bien]]'' as one of his ten favorite films of all time in the 2012 ''Sight and Sound'' critics' poll.<ref>{{Cite web | url=https://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/66 | archive-url=https://web.archive.org/web/20160818105547/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/66 | url-status=dead | archive-date=18 August 2016 |title = Tariq Ali |publisher=British Film Institute}}</ref> American film critic [[Armond White]] listed Godard's film [[Nouvelle Vague (1990 film)|''Nouvelle Vague'']] as one of his top ten favorite films in the same poll.<ref>{{cite web |title=Armond White |url=https://www2.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/783 |archive-url=https://web.archive.org/web/20160818132951/http://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/783 |url-status=dead |archive-date=18 August 2016 |publisher=British Film Institute |access-date=14 September 2022 |quote=Godard's rarely screened Nouvelle Vague looms in my memory as his grandest work – grander and more important still due to cinephilia's recent decline.}}</ref> [[Susan Sontag]] called ''[[Vivre sa vie]]'' "one of the most extraordinary, beautiful and original works of art I know of."<ref>{{cite magazine|last=Sontag|first=Susan|author-link=Susan Sontag|title=On Godard's Vivre sa vie|magazine=Moviegoer|issue=2|date=Summer–Autumn 1964|page=9}}</ref> Four of Godard's films are included on the 2022 edition of the ''Sight and Sound'' list of 100 Greatest Films: ''Breathless'' (38), ''Le Mépris'' (54), ''[[Histoire(s) du cinéma]]'' (78) and ''Pierrot le Fou'' (85).<ref>{{Cite web |title=The 100 Greatest Films of All Time |url=https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time |access-date=14 September 2022 |publisher=British Film Institute |language=en |archive-date=18 March 2021 |archive-url=https://web.archive.org/web/20210318214144/https://www2.bfi.org.uk/greatest-films-all-time |url-status=live }}</ref>

The 60th [[New York Film Festival]] paid tribute to Godard, who died earlier that year.<ref>{{cite web| title=60 Years of NYFF: Discussing Jean-Luc Godard's Life and Career| date=September 16, 2022| url=https://www.filmlinc.org/nyff2022/daily/60-years-of-nyff-discussing-jean-luc-godards-life-career/}}</ref> ''[[The Onion]]'' paid homage to him with the headline "Jean-Luc Godard Dies At End of Life In Uncharacteristically Linear Narrative Choice."<ref>{{Cite web |date=13 September 2022 |title=Jean-Luc Godard Dies At End of Life In Uncharacteristically Linear Narrative Choice |url=https://www.theonion.com/jean-luc-godard-dies-at-end-of-life-in-uncharacteristic-1849530617 |website=[[The Onion]] |access-date=2 February 2023 |archive-date=2 February 2023 |archive-url=https://web.archive.org/web/20230202000051/https://www.theonion.com/jean-luc-godard-dies-at-end-of-life-in-uncharacteristic-1849530617 |url-status=live }}</ref>

== Selected filmography ==
{{Main|Jean-Luc Godard filmography}}

'''Feature films'''
:The list excludes multi-director [[anthology film]]s to which Godard contributed shorts.

{{div col|colwidth=20em}}
* 1960 ''[[Breathless (1960 film)|Breathless]]''<ref>{{Cite web|url=http://www.theguardian.com/film/2010/jun/06/film-jean-luc-godard-breathless-feature-philip-french-french-new-wave|title=Film: 50 years of Jean‑Luc Godard's Breathless|date=5 June 2010|website=The Guardian|access-date=16 September 2022|archive-date=15 September 2022|archive-url=https://web.archive.org/web/20220915065947/https://www.theguardian.com/film/2010/jun/06/film-jean-luc-godard-breathless-feature-philip-french-french-new-wave|url-status=live}}</ref>
* 1961 ''[[A Woman Is a Woman]]''<ref>{{cite web|url=http://www.berlinale.de/en/archiv/jahresarchive/1961/02_programm_1961/02_Filmdatenblatt_1961_19610003.php|title=Une femme est une femme|publisher=Berlinale|archive-url=https://web.archive.org/web/20160327052222/http://www.berlinale.de/en/archiv/jahresarchive/1961/02_programm_1961/02_Filmdatenblatt_1961_19610003.php |access-date=16 September 2022|archive-date=27 March 2016 }}</ref>
* 1962 ''[[My Life to Live]]''<ref name=JLG>{{cite web|url=http://www.tasteofcinema.com/2016/15-essential-jean-luc-godard-films-you-need-to-watch/#:~:text=15%20Essential%20Jean-Luc%20Godard%20Films%20You%20Need%20To,Pierrot%20le%20fou%20%281965%29%207%20Masculin%20feminin%20%281966%29|title=15 Essential Jean-Luc Goddard Films|date=20 January 2016|publisher=Taste of Cinema|access-date=16 September 2022|archive-date=14 September 2022|archive-url=https://web.archive.org/web/20220914070949/https://www.tasteofcinema.com/2016/15-essential-jean-luc-godard-films-you-need-to-watch/#:~:text=15%20Essential%20Jean-Luc%20Godard%20Films%20You%20Need%20To,Pierrot%20le%20fou%20%281965%29%207%20Masculin%20feminin%20%281966%29|url-status=live}}</ref>
* 1963 ''[[The Little Soldier]]''<ref>{{Cite web|url=https://www.rogerebert.com/reviews/le-petit-soldat-1960|title=Le Petit Soldat movie review & film summary (1960) &#124; Roger Ebert|first=Roger|last=Ebert|website=rogerebert.com/|access-date=7 October 2022|archive-date=7 October 2022|archive-url=https://web.archive.org/web/20221007195426/https://www.rogerebert.com/reviews/le-petit-soldat-1960|url-status=live}}</ref>
* 1963 ''[[The Carabineers]]''<ref name="EbertCarabineers">{{Cite web |last=Ebert |first=Roger |date=29 October 1968 |title=Les Carabiniers |url=https://www.rogerebert.com/reviews/les-carabiniers-1963 |access-date=16 September 2022 |website=[[RogerEbert.com]] |language=en |archive-date=7 February 2021 |archive-url=https://web.archive.org/web/20210207054710/https://www.rogerebert.com/reviews/les-carabiniers-1963 |url-status=live }}</ref>
* 1963 ''[[Contempt (film)|Contempt]]''<ref>[https://movies.nytimes.com/movie/review?res=EE05E7DF1730E560BC4152DFB467838F679EDE ''The New York Times'' movie review] {{Webarchive|url=https://web.archive.org/web/20240319014210/https://www.nytimes.com/reviews/movies |date=19 March 2024 }} by [[Bosley Crowther]] from 19 December 1964</ref>
* 1964 ''[[Bande à part (film)|Band of Outsiders]]''<ref name=JLG/>
* 1964 ''[[A Married Woman]]''<ref>{{Cite news |last=Abele |first=Robert |date=15 April 2016 |title=Review: Jean-Luc Godard coolly dissects modern bourgeois life in the digitally restored 'Une Femme Mariée' |url=https://www.latimes.com/entertainment/movies/la-et-mn-married-woman-review-20160415-story.html |access-date=16 September 2022 |newspaper=Los Angeles Times |language=en-US |archive-date=20 September 2022 |archive-url=https://web.archive.org/web/20220920170539/https://www.latimes.com/entertainment/movies/la-et-mn-married-woman-review-20160415-story.html |url-status=live }}</ref>
* 1965 ''[[Alphaville (film)|Alphaville]]''<ref name=JLG/>
* 1965 ''[[Pierrot le Fou]]''<ref name=JLG/>
* 1966 ''[[Masculin Féminin]]''<ref name=JLG/>
* 1966 ''[[Made in U.S.A. (1966 film)|Made in U.S.A.]]''<ref>{{cite web |first=A. O. |last=Scott |url=https://www.nytimes.com/2009/01/09/movies/09made.html |title=Godard's '60s Policier, Set in Atlantic City, France |work=The New York Times |date=8 January 2009 |access-date=23 May 2011 |archive-date=20 April 2019 |archive-url=https://web.archive.org/web/20190420212204/https://www.nytimes.com/2009/01/09/movies/09made.html |url-status=live }}</ref>
* 1967 ''[[Two or Three Things I Know About Her]]''<ref>{{cite web |last=Dargis |first=Manohla |author-link=Manohla Dargis |url=https://www.nytimes.com/2006/11/17/movies/17bmovie.html |title=Two or Three Things I Know About Her ... |work=[[The New York Times]] |date=17 November 2006 |access-date=12 June 2022 |archive-url=https://web.archive.org/web/20180118003157/https://www.nytimes.com/2006/11/17/movies/17bmovie.html |archive-date=18 January 2018}}</ref>
* 1967 ''[[La Chinoise]]''<ref name=JLG/>
* 1967 ''[[Weekend (1967 film)|Week-end]]''<ref name=JLG/>
* 1969 ''[[Joy of Learning]]''<ref>{{cite news|url=https://www.nytimes.com/2017/07/27/movies/le-gai-savoir-jean-luc-godard.html|title=A Godard Riff That Adapts Rousseau's Treatise on Education|first=J.|last=Hoberman|date=27 July 2017|newspaper=The New York Times|access-date=16 September 2022|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920170638/https://www.nytimes.com/2017/07/27/movies/le-gai-savoir-jean-luc-godard.html|url-status=live}}</ref>
* 1970 ''[[Wind from the East]]''{{sfn|Wills|2000|p=146}}
* 1971 ''[[Struggle in Italy]]''<ref>{{cite news|url=https://www.bbc.com/news/entertainment-arts-62889491|title=Jean-Luc Godard: Visionary director's life and films in pictures|work=BBC News|date=13 September 2022|access-date=16 September 2022|archive-date=16 September 2022|archive-url=https://web.archive.org/web/20220916045250/https://www.bbc.com/news/entertainment-arts-62889491|url-status=live}}</ref>
* 1971 ''[[Vladimir and Rosa]]''<ref>{{cite web|url=https://www.viennale.at/en/films/vladimir-et-rosa|title=Vladimir Et Rosa|publisher=Viennale|access-date=16 September 2022|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920163531/https://www.viennale.at/en/films/vladimir-et-rosa|url-status=live}}</ref>
* 1972 ''[[Tout va bien]]''{{sfn|Wills|2000|p=147}}
* 1975 ''[[Number Two (film)|Number Two]]''<ref name=JLG/>
* 1976/1978 ''[[How's it going]]?''<ref>{{cite web|url=https://read.dukeupress.edu/camera-obscura/article-abstract/1/2%20(2)/105/31270/Comment-C-a-Va-How-s-It-Going-Jean-Luc-Godard-1976|title=Comment Ça Va (How's It Going) Jean Luc Godard, 1976|publisher=Duke.edu|access-date=16 September 2022|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920171610/https://read.dukeupress.edu/camera-obscura/article-abstract/1/2%20(2)/105/31270/Comment-C-a-Va-How-s-It-Going-Jean-Luc-Godard-1976|url-status=live}}</ref>
* 1980 ''[[Every Man for Himself (1980 film)|Every Man for Himself]]''<ref>{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/1853/year/1980.html |title=Festival de Cannes: Sauve qui peut (la vie) |access-date=28 May 2009 |work=festival-cannes.com |archive-date=3 October 2009 |archive-url=https://web.archive.org/web/20091003194352/http://www.festival-cannes.com/en/archives/ficheFilm/id/1853/year/1980.html |url-status=live }}</ref>
* 1982 ''[[Passion (1982 film)|Passion]]''<ref>{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/1673/year/1982.html |title=Festival de Cannes: Passion |access-date=12 June 2009 |work=festival-cannes.com |archive-date=22 August 2011 |archive-url=https://web.archive.org/web/20110822103335/http://www.festival-cannes.com/en/archives/ficheFilm/id/1673/year/1982.html |url-status=live }}</ref>
* 1983 ''[[First Name: Carmen]]''<ref name=JLG/>
* 1985 ''[[Hail Mary (film)|Hail Mary]]''{{sfn|Wills|2000|p=152}}
* 1985 ''[[Détective (1985 film)|Detective]]''{{sfn|Wills|2000|p=152}}
* 1987 ''[[King Lear (1987 film)|King Lear]]''{{sfn|Wills|2000|p=153–154}}
* 1987 ''[[Keep Your Right Up]]''<ref>{{cite book|first=Freddy|last=Buache |title=Le cinéma suisse |editor=Âge d'homme & Histoire et théorie du cinéma |year=1998 |page=440 |publisher=L'Age d'Homme |isbn=978-2-8251-1012-6}}</ref>
* 1990 ''[[Nouvelle Vague (1990 film)|New Wave]]''<ref name=NVC>{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/159/year/1990.html |title=Festival de Cannes: Nouvelle Vague |access-date=5 August 2009 |work=festival-cannes.com |archive-date=4 October 2012 |archive-url=https://web.archive.org/web/20121004073133/http://www.festival-cannes.com/en/archives/ficheFilm/id/159/year/1990.html |url-status=live }}</ref>
* 1991 ''[[Germany Year 90 Nine Zero]]''<ref>{{cite news|url=https://www.ft.com/content/7492741f-6f5b-4153-b796-0412cfa99b2d |archive-url=https://ghostarchive.org/archive/20221210/https://www.ft.com/content/7492741f-6f5b-4153-b796-0412cfa99b2d |archive-date=10 December 2022 |url-access=subscription|title=Jean-Luc Goddard, film-maker, 1930–2022|newspaper=Financial Times|date=13 September 2022 |access-date=16 September 2022}}</ref>
* 1993 ''[[Hélas pour moi|Oh Woe Is Me]]''<ref>{{cite book|last=Fieschi-Vivet|first=Laeticia|title=The Cinema Alone: Essays on the Work of Jean-Luc Godard, 1985–2000|url=https://books.google.com/books?id=xX_4u_gJk6UC&q=H%C3%A9las+pour+moi+Godard&pg=PA189|year=2000|publisher=Amsterdam University Press|page=189|isbn=9789053564561|access-date=16 September 2022|archive-date=19 March 2024|archive-url=https://web.archive.org/web/20240319014235/https://books.google.com/books?id=xX_4u_gJk6UC&q=H%C3%A9las+pour+moi+Godard&pg=PA189#v=snippet&q=H%C3%A9las%20pour%20moi%20Godard&f=false|url-status=live}}</ref>
* 1996 ''[[For Ever Mozart]]''<ref name=FEM>[http://onfilm.chicagoreader.com/movies/capsules/16086_FOR_EVER_MOZART For Ever Mozart Review] by [[Jonathan Rosenbaum]])</ref>
* 2001 ''[[In Praise of Love (film)|In Praise of Love]]''<ref>{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/1100050/year/2001.html |title=Festival de Cannes: In Praise of Love |access-date=17 October 2009 |work=festival-cannes.com |archive-date=8 October 2012 |archive-url=https://web.archive.org/web/20121008180941/http://www.festival-cannes.com/en/archives/ficheFilm/id/1100050/year/2001.html |url-status=live }}</ref>
* 2004 ''[[Notre musique]]''<ref name=notre>{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/4183970/year/2004.html |title=Festival de Cannes: Notre musique |access-date=5 December 2009 |work=festival-cannes.com |archive-date=10 October 2012 |archive-url=https://web.archive.org/web/20121010232043/http://www.festival-cannes.com/en/archives/ficheFilm/id/4183970/year/2004.html |url-status=live }}</ref>
* 2010 ''[[Film Socialisme]]''<ref name=JLG/>
* 2014 ''[[Goodbye to Language]]''<ref name=JLG/>
* 2018 ''[[The Image Book]]''<ref>{{cite magazine|url=https://variety.com/2018/film/news/cannes-lineup-includes-new-films-from-spike-lee-jean-luc-godard-1202751300/|title=Cannes Lineup Includes New Films From Spike Lee, Jean-Luc Godard|magazine=[[Variety (magazine)|Variety]]|date=12 April 2018|last1=Debruge|first1=Peter|last2=Keslassy|first2=Elsa|accessdate=12 April 2018|archive-date=27 March 2019|archive-url=https://web.archive.org/web/20190327101404/https://variety.com/2018/film/news/cannes-lineup-includes-new-films-from-spike-lee-jean-luc-godard-1202751300/|url-status=live}}</ref><ref>{{cite web|url=https://www.festival-cannes.com/en/festival/films/le-livre-d-image|title=Le Livre d'Image (Image Book)|publisher=[[Cannes Film Festival]]|accessdate=30 April 2018|archive-date=1 May 2018|archive-url=https://web.archive.org/web/20180501161712/https://www.festival-cannes.com/en/festival/films/le-livre-d-image|url-status=live}}</ref> 
{{div col end}}

'''Documentary'''

{{div col|colwidth=20em}}
* 1968 ''[[A Film Like Any Other]]''{{sfn|Wills|2000|p=145}}
* 1968 ''[[Sympathy for the Devil (1968 film)|Sympathy for the Devil]]''{{sfn|Wills|2000|p=145}}
* 1969 ''[[British Sounds]]''{{sfn|Wills|2000|p=145}}
* 1972 ''[[Letter to Jane]]''{{sfn|Wills|2000|p=147}}
* 1976 ''[[Here and Elsewhere]]''<ref>{{cite web |title=Here And Elsewhere + All Is Well on the Border |url=https://www.eastman.org/event/film-screenings/here-and-elsewhere-all-well-border |work=George Eastman Museum |date=11 November 2015 |access-date=16 September 2022 |archive-date=18 August 2016 |archive-url=https://web.archive.org/web/20160818232434/https://www.eastman.org/event/film-screenings/here-and-elsewhere-all-well-border |url-status=live }}</ref>
* 1988 ''[[Histoire(s) du cinéma]]''
* 1994 ''[[JLG/JLG – Self-Portrait in December]]''<ref name=JLGJLG>{{cite news |url=https://movies.nytimes.com/movie/133786/Jlg-Jlg/overview |archive-url=https://web.archive.org/web/20080226020921/http://movies.nytimes.com/movie/133786/Jlg-Jlg/overview |url-status=dead |archive-date=26 February 2008 |title=JLG/JLG – Self-Portrait in December |access-date=17 August 2008| first=Stephen |department=Movies & TV Dept. |work=[[The New York Times]] |author-link=Stephen Holden |year=2008 | last=Holden}}</ref>
{{div col end}}

'''Short films'''
{{div col|colwidth=20em}}
* 1993 ''[[Les Enfants jouent à la Russie|The Kids Play Russian]]''<ref>{{cite web|url=https://mubi.com/films/the-kids-play-russian|title=The Kids Play Russian|access-date=16 September 2022|publisher=Mubi|archive-date=20 September 2022|archive-url=https://web.archive.org/web/20220920170557/https://mubi.com/films/the-kids-play-russian|url-status=live}}</ref>
{{div col end}}

== Discography ==
Godard had a lasting friendship with [[Manfred Eicher]], founder and head of the German music label [[ECM Records]].<ref>Lake: ''Horizons Touched'' (2010), pp. 115–133.</ref> The label released the soundtracks of Godard's ''[[Nouvelle Vague (1990 film)|Nouvelle Vague]]'' (ECM NewSeries 1600–01) and ''[[Histoire(s) du cinéma]]'' (ECM NewSeries 1706). This collaboration expanded over the years, leading to Godard's granting ECM permission to use stills from his films for album covers,<ref>Kern: ''Der Blaue Klang'' (2010), pp. 99–111.</ref> while Eicher took over the musical direction of Godard films such as ''[[Allemagne 90 neuf zéro]]'', ''Hélas Pour Moi'', ''[[JLG/JLG – Self-Portrait in December|JLG]]'', and ''[[For Ever Mozart]]''. Tracks from ECM records have been used in his films; for example, the soundtrack for ''[[In Praise of Love (film)|In Praise of Love]]'' uses [[Ketil Bjørnstad]] and [[David Darling (musician)|David Darling]]'s album ''[[Epigraphs (album)|Epigraphs]]'' extensively. Godard also released on the label a collection of shorts he made with Anne-Marie Miéville called ''Four Short Films'' (ECM 5001).<ref>Lake: ''Horizons Touched'' (2010), pp. 5–12.</ref>

Among the ECM album covers with Godard's film stills are these:<ref>Lake: ''Windfall Light'' (2010), pp. 415–441.</ref>
* ''Voci'', works of [[Luciano Berio]] played by [[Kim Kashkashian]] (ECM 1735)
* ''Words of The Angel'', by [[Trio Mediaeval]] (ECM 1753)
* ''Morimur'', by [[Christoph Poppen]] & The [[Hilliard Ensemble]] (ECM 1765)
* ''Songs of Debussy and Mozart'', by [[Juliane Banse]] & [[András Schiff]] (ECM 1772)
* ''Requiem for Larissa'', by [[Valentin Silvestrov]] (ECM 1778)
* ''[[Soul of Things]]'', by [[Tomasz Stanko]] Quartet (ECM 1788)
* ''[[Suspended Night]]'', by [[Tomasz Stanko]] Quartet (ECM 1868)
* ''Asturiana: Songs from Spain and Argentina'', by Kim Kashkashian & [[Robert D. Levin|Robert Levin]] (ECM 1975)
* ''Distances'', by [[Norma Winstone]], [[Glauco Venier]] & Klaus Gesing (ECM 2028)
* ''Live at Birdland'', by [[Lee Konitz]], [[Brad Mehldau]], [[Charlie Haden]] & [[Paul Motian]] (ECM 2162)

==See also==
* [[List of directors associated with art film]]

== References ==
{{Reflist}}

== Works cited ==
{{refbegin|30em}}
* Almeida, Jane. Dziga Vertov Group {{Cite web |url=http://www.witz.com.br/dzigavertov/ |title=Mostra Grupo Dziga Vertov |access-date=13 September 2022 |archive-date=11 March 2007 |archive-url=https://web.archive.org/web/20070311042332/http://www.witz.com.br/dzigavertov/ |url-status=live}}. São Paulo: witz, 2005. {{ISBN|85-98100-05-6}}.
* Nicole Brenez, David Faroult, Michael Temple, James E. Williams, Michael Witt (eds.) (2007). ''Jean-Luc Godard: Documents''. Paris: Centre Georges Pompidou.
* {{cite book |last=Brody |first=Richard |year=2008 |title=Everything Is Cinema: The Working Life of Jean-Luc Godard |publisher=Macmillan |isbn=978-0-8050-6886-3}}
* Dixon, Wheeler Winston. ''The Films of Jean-Luc Godard''. Albany: State University of New York Press, 1997.
* {{cite book |last=Godard |first=Jean Luc |title=Godard on Godard: Critical Writings by Jean-Luc Godard |url=https://books.google.com/books?id=gtd3lAtcz28C |year=1986 |publisher=Da Capo Press |isbn=978-0-306-80259-1 }}
* Godard, Jean-Luc (2002). ''The Future(s) of Film: Three Interviews 2000–01''. Bern; Berlin: Verlag Gachnang & Springer. {{ISBN|978-3-906127-62-0}}.
* Godard, Jean-Luc (2014). ''Introduction to a True History of Cinema and Television''. Montreal: caboose. {{ISBN|978-0-9811914-1-6}}.
* {{cite book |editor-last=Grant |editor-first=Barry Keith |title=Schirmer Encyclopedia of Film |year=2007 |publisher=Schirmer Reference |location=Detroit |isbn=978-0-02-865791-2 }}
* Intxauspe, J.M. (2013). "Film Socialisme: Quo vadis Europa". ''hAUSnART'', 3: 94–99.
* Lake, Steve and [[Paul Griffiths (writer)|Griffiths, Paul]], eds. (2007). ''Horizons Touched: the Music of ECM''. Granta Books. {{ISBN|978-1-86207-880-2}}. 2007.
* Loshitzky, Yosefa. ''The Radical Faces of Godard and Bertolucci''.
* {{cite book |last=MacCabe |first=Colin |author-link=Colin MacCabe |title=Godard: A Portrait of the Artist at Seventy |url=https://books.google.com/books?id=FwLqbp0cEp8C |year=2005 |publisher=Faber and Faber |location=New York |isbn=978-0-571-21105-0 }}
* {{cite book |last=Morrey |first=Douglas |title=Jean-Luc Godard |url=https://books.google.com/books?id=Kby7RaRmTt4C&pg=PA1 |year=2005 |publisher=[[Manchester University Press]] |location=New York |isbn=978-0-7190-6759-4 |access-date=16 March 2016 |archive-date=1 January 2014 |archive-url=https://web.archive.org/web/20140101150131/http://books.google.com/books?id=Kby7RaRmTt4C&pg=PA1 |url-status=live }}
* Müller, Lars (2010). ''Windfall Light: The Visual Language of ECM''. Lars Müller Publishers. {{ISBN|978-3-03778-157-9}} {{in lang|en}} & {{ISBN|978-3-03778-197-5}} {{in lang|de}}.
* Rainer Kern, Hans-Jürgen Linke and Wolfgang Sandner (2010). ''Der Blaue Klang''. Wolke Verlag. {{ISBN|978-3-936000-83-2}} {{in lang|de}}.
* Silverman, Kaja and Farocki, Harun. 1998. ''Speaking About Godard''. New York: New York University Press.
* [[Susan Sontag|Sontag, Susan]] (1966). "Godard's ''Vivre sa Vie''" in ''[[Against Interpretation]]''. New York: Farrar, Straus and Giroux.
* Sontag, Susan (1969). "Godard" in ''[[Styles of Radical Will]]''. New York: Farrar, Straus and Giroux.
* Steritt, David (1998). ''Jean-Luc Godard: Interviews''. Jackson, Mississippi: [[University Press of Mississippi]]. {{ISBN|9781578060818}}.
* {{cite book |last=Sterritt |first=David |title=The Films of Jean-Luc Godard: Seeing the Invisible |url=https://books.google.com/books?id=Q9C9O27LOIwC |date=13 August 1999 |publisher=[[Cambridge University Press]] |isbn=978-0-521-58971-0 |access-date=24 December 2019 |archive-date=3 August 2020 |archive-url=https://web.archive.org/web/20200803140438/https://books.google.com/books?id=Q9C9O27LOIwC |url-status=live }}
* Stevenson, Diane. "Godard and Bazin" in the Andre Bazin special issue, Jeffrey Crouse (ed.), ''Film International'', Issue 30, Vol. 5, No. 6, 2007, pp.&nbsp;32–40.
* Temple, Michael. Williams, James S. Witt, Michael (eds.) 2007. ''For Ever Godard''. London: Black Dog Publishing.
* Temple, Michael and Williams, James S. (eds.) (2000). ''The Cinema Alone: Essays on the Work of Jean-Luc Godard 1985–2000''. Amsterdam: Amsterdam University Press.
* Usher, Phillip John (2009). "De Sexe Incertain: Masculin, Féminin de Godard". ''French Forum'', vol. 34, no. 2, pp.&nbsp;97–112.
* {{cite book |last=Wills |first=David |title=Jean-Luc Godard's Pierrot Le Fou |url=https://books.google.com/books?id=3ExKmREQI9IC |date=28 April 2000 |publisher=[[Cambridge University Press]] |language=en |isbn=978-0-521-57489-1 |access-date=24 December 2019 |archive-date=3 August 2020 |archive-url=https://web.archive.org/web/20200803124606/https://books.google.com/books?id=3ExKmREQI9IC |url-status=live }}
{{refend}}

==External links==
{{Commons category}}
{{Wikiquote}}
* {{IMDb name|419|Jean-Luc Godard}}
* {{discogs artist|Jean-Luc Godard}}
* [http://cinemagodardcinema.wordpress.com Cinema=Godard=Cinema] – a hub for academic information and discussion about Godard
* [http://www.criterion.com/explore/12-jean-luc-godard Jean-Luc Godard] at the [[Criterion Collection]]
* [http://www.newwavefilm.com/french-new-wave-encyclopedia/jean-luc-godard.shtml Jean Luc Godard Biography] at newwavefilm.com
* [http://www.carleton.edu/curricular/MEDA/classes/media110/Friesema/intro.html Jean-luc Godard Timeline]
* [http://en.unifrance.org/directories/person/15597/jean-luc-godard Detailed filmography of Jean-Luc Godard] on unifrance.org
* [https://www.theguardian.com/film/jeanlucgodard Jean-Luc Godard] at ''[[The Guardian]]'' Film
* [https://web.archive.org/web/20071024183132/http://movies.nytimes.com/person/91804/Jean-Luc-Godard Jean-Luc Godard] at ''[[The New York Times]]'' Movies
* {{NYTtopic|people/g/jeanluc_godard}}
* {{Helveticat}}
* [https://www.theguardian.com/film/2005/apr/29/2 ''Guardian'' interview (29 April 2005)]
* [http://parolesdesjours.free.fr/gozag.htm Video dialog—in French—between Godard and the French writer Stéphane Zagdanski about Literature and Cinema, November 2004]
* [https://www.youtube.com/watch?v=mKrtdKfiv8k Interview with Jean-Luc Godard, 1972]
* [https://www.filmcatastrophe.com Film catastrophe, the shooting of Film socialisme aboard the Costa Concordia]
* [http://www.colander.org/radio/lli017.html List of music used in Jean-Luc Godard movies]

{{Jean-Luc Godard}}
{{Navboxes
|title = Awards for Jean-Luc Godard
|list =
{{Silver Bear for Best Director}}
{{Academy Honorary Award}}
{{European Film Academy Lifetime Achievement Award}}
{{Georges Delerue Award}}
{{Golden Lion for Lifetime Achievement}}
{{Honorary César}}
}}
{{French New Wave}}

{{Authority control}}

{{DEFAULTSORT:Godard, Jean-Luc}}
[[Category:Jean-Luc Godard| ]]
[[Category:1930 births]]
[[Category:2022 deaths]]
[[Category:2022 suicides]]
[[Category:20th-century French male actors]]
[[Category:20th-century French male writers]]
[[Category:20th-century French screenwriters]]
[[Category:20th-century Swiss male actors]]
[[Category:20th-century Swiss writers]]
[[Category:21st-century French male actors]]
[[Category:21st-century French male writers]]
[[Category:21st-century French screenwriters]]
[[Category:21st-century Swiss male actors]]
[[Category:21st-century Swiss writers]]
[[Category:Academy Honorary Award recipients]]
[[Category:Anti–Vietnam War activists]]
[[Category:César Honorary Award recipients]]
[[Category:Collage filmmakers]]
[[Category:Counterculture of the 1960s]]
[[Category:Counterculture of the 1970s]]
[[Category:Deaths by euthanasia]]
[[Category:Directors of Golden Bear winners]]
[[Category:Directors of Golden Lion winners]]
[[Category:European Film Academy Lifetime Achievement Award recipients]]
[[Category:Existentialists]]
[[Category:Film directors from Paris]]
[[Category:French film production company founders]]
[[Category:Film theorists]]
[[Category:French cinematographers]]
[[Category:French communists]]
[[Category:French experimental filmmakers]]
[[Category:French film critics]]
[[Category:French film editors]]
[[Category:French film producers]]
[[Category:French humanists]]
[[Category:French-language film directors]]
[[Category:French male screenwriters]]
[[Category:French Marxist writers]]
[[Category:French people of Swiss descent]]
[[Category:Georges Delerue Award winners]]
[[Category:Golden Lion for Lifetime Achievement recipients]]
[[Category:Literacy and society theorists]]
[[Category:Male actors from Paris]]
[[Category:Mass media theorists]]
[[Category:Media critics]]
[[Category:Silver Bear for Best Director winners]]
[[Category:Suicides in Switzerland]]
[[Category:Swiss cinematographers]]
[[Category:Swiss communists]]
[[Category:Swiss film critics]]
[[Category:Swiss film directors]]
[[Category:Swiss film editors]]
[[Category:Swiss male film actors]]
[[Category:Swiss Marxist writers]]
[[Category:Swiss screenwriters]]
[[Category:French-language Swiss writers]]
[[Category:Theorists on Western civilization]]
[[Category:University of Paris alumni]]
[[Category:Writers about activism and social change]]
[[Category:Writers from Paris]]