Synopsis
The many faces of a woman trying to find herself in a world of men.
Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
1962 ‘Vivre sa vie: film en douze tableaux’ Directed by Jean-Luc Godard
Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
Anna Karina Sady Rebbot André S. Labarthe Guylaine Schlumberger Gérard Hoffmann Monique Messine Paul Pavel Dimitri Dineff Peter Kassovitz Eric Schlumberger Brice Parain Henri Attal Gilles Quéant Odile Geoffroy Marcel Charton Jack Florency Alfred Adam Mario Botti Gisèle Braunberger Jean Ferrat Jean-Paul Savignac László Szabó Jean-Luc Godard
Жить своей жизнью, 비브르 사 비, 자기 인생을 살기, Zijn Leven beleven, Vivre sa vie, Zouse ti zoi tis, Onna to Otoko no Iru Hodô, La corrupción, Viver a Sua Vida, Viver a Sua Vida. Filme em 12 Quadros, 隨心所欲, Жити своїм життям, It's My Life, My Life to Live, Jean-Luc Godard: Die Geschichte der Nana S., Die Geschichte der Nana S.
Humanity and the world around us Moving relationship stories romance, emotion, relationships, feelings or captivating sex, sexual, relationships, erotic or sensual artists, biography, musician, songs or emotional emotion, storytelling, powerful, poetic or captivating emotion, emotional, moving, sadness or feelings Show All…
Clearly liked it a lot more than Breathless. At the end of the day I’m still pretty conflicted on how I feel. Like I love everything about this, the visual language, the editing, the performances, the philosophy in that 11th story. The only thing it’s missing is me giving any sort of shit about this woman. I will say, that final shot is absolutely tragic in the context of the entire film but that can’t be the only time I care about her. Ya know? Still though, I’m sure there’s a Godard for me that I’m gonna love, we’re getting closer.
In Vivre Sa Vie we get to know Nana; a woman that dreams of becoming an actress and has one man for every occasion. She believes that mankind is free and are responsible for every action and emotion, and that's a belief that is put to the test as she starts to work as a prostitute...
Vivre Sa Vie has everything I love with Godard films. The melancholy, the fantastic dialogues, the innovative camera work, the social political commentary, beautiful music, beautiful women and last, but not least; tons of references to movies, literature and philosophy. In the case of Vivre sa vie Godard is very straight forward with what he's trying to say, what existential thoughts he's trying to…
Jean-Luc Godard's Vivre Sa Vie bitterly shows the sad reality on what it's like to be a woman in a man's world.
The subject of this film: Anna Karina, Godard's own wife. She plays Nana, a young Parisian woman who leaves her unhappy marriage in an attempt to pursue a life of fame and acknowledgement. But over the course of twelve episodes, we see Nana’s spiralling descent into prostitution instead.
I liked how this film didn't treat its theme of prostitution in overly dramatic fashion; but then again, Vivre sa Vie isn't really about prostitution. This is about Nana and her search for existential truth and happiness.
Throughout its 84 minutes runtime, we are completely drawn to Nana, not just…
Some men write poems for the women they love, some sing songs. Godard filmed a movie for her.
76/100
Okay…I admit, this is only my second Godard film. That being said, both films I’ve seen of his (Breathless and now Vivre Sa Vie) have left me feeling a bit cold and uninvolved. With Vivre Sa Vie I feel as if I can admire the parts but not the sum. The acting, dialog, camerawork, story, etc…all pretty wonderful…yet when I step back at the end I don’t feel connected or moved by these characters at all. There is this almost unexplainable coldness to the way Godard portrays the characters, which leaves me feeling like I’m on the outside looking in. It’s hard to put a finger on why or how this happens, maybe it’s just a personal thing and…
insane how much more bearable godard is when he doesn't edit his films like a 12 year old boy discovering premiere pro for the first time
but unfortunately he still writes female characters like a 12 year old boy :/
A stranger talks about the importance of words, when suddenly, Godard jump-cuts to a shot of Anna Karina's piercing eyes looking directly into camera. Afterwards, a man reads aloud a barrage of elegant, lustful prose, and yet all we see is an isolated Karina, framed like a monument against Godard's flat mise-en-scene. Words, images and sounds can only communicate so much. One must combine them to find the soul.