1966 Directed by Jean-Luc Godard
Paul, a young idealist trying to figure out what he wants to do with his life, takes a job interviewing people for a marketing research firm. He moves in with aspiring pop singer Madeleine. Paul, however, is disillusioned by the growing commercialism in society, while Madeleine just wants to be successful. The story is told in a series of 15 unrelated vignettes.
Masculino-Feminino, Masculino, femenino, Masculin féminin: 15 faits précis, Il maschio e la femmina, 男性・女性, Мужское-женское, Masculin - Feminin oder: Die Kinder von Coca Cola, Masculine, Feminine: In 15 Acts, 남성, 여성, Masculin – Feminin - 15 präzise Ereignisse, Masculí femení, Mužský rod, ženský rod, Masculin - Feminin oder: Die Kinder von Marx und Coca Cola, Αρσενικό - Θηλυκό, Maskuliini feminiini, Hímnem-nőnem, Męski - żeński: 15 scen z życia, Masculino Feminino, Masculino, Feminino, Maskulinum - femininum, Erkek, Dişi, Чоловіче жіноче, 男性，女性
Humanity and the world around us Politics and human rights emotion, storytelling, powerful, poetic or captivating romance, emotion, relationships, feelings or captivating emotion, emotional, moving, sadness or feelings artists, biography, musician, songs or emotional political, president, historical, politician or democracy Show All…
Jean-Pierre Leaud failing to look cool while flipping a cigarette up into his mouth, failing to find the right way to express his feelings, failing to engage in philosophy or poetry beyond laundromat soliloquies and record-your-own-record booths, failing to engage with politics beyond graffiti slogans and condescending interviews conducted with young women, failing to impress the projectionist with his knowledge of aspect ratios, and failing to impress anyone with his whistling.
We went to the movies often. The screen would light up, and we'd feel a thrill. But Madeline and I were usually disappointed. But Madeline and I were usually disappointed. The images were dated and jumpy. Marilyn Monroe had aged badly. We felt sad. It wasn't the movie of our dreams. It wasn't the total film we carried inside ourselves. That film we would have liked to make, or more secretly, no doubt, the film we wanted to live.
THIS FILM COULD BE CALLED.
/bang/
THE CHILDREN OF MARX AND COCA-COLA.
/bang/
UNDERSTAND WHAT YOU WILL.
/bang/
men flirting in godard movies be like "do you know what birth control is? have you read the communist manifesto?"
Godard is film's preeminent chronicler of shitty boyfriends, and in a way his movies act as a shitty boyfriend to movie people everywhere: What you want and what you get are often two very different things. In this case, I sort of crave some explicit acknowledgement that Paul and his friends are actually kind of gross, feeling up strangers in a cafe and generally interrogating every female they come across like they owe them some explanation for their very existence. I realize that's the opposite of what I usually want in a dramatist, preferring to figure out that sort of thing for myself (see the debate over The Wolf of Wall Street for a current example), but that's just one contradictory response to a movie that's full of contradictions - the title, for one, and a cinematic aesthetic that's both convincingly docu-realistic and playfully distancing. I don't like it, but I like it a lot.
that scene where elisabeth is just trying to eat an apple and robert keeps asking her about her sex life and telling her he loves her and she just keeps saying “it’s none of your businesss” over and over again is a big mood
"We control our thoughts which mean nothing, and not our emotions which mean everything."
when culture became everything, and everything became culture.
"A classic case of Godard: mind-numbingly boring": that was Bergman's opinion after hearing about this film being shot in Sweden, going to see it and finding out Godard had mocked him spoofing Tystnaden (1963).
15 specific facts about youth entering a new generation are Godard's excuse to show us once again what the French New Wave meant for him before entering experimental territory: beautiful women, pop culture, innovative celluloid techniques, improvisation, dance, random moments, long shots, sex, love and the American culture.
99/100
