Godard didn't deserve Anna Karina.

Oh my God in heaven the machine gun pan.

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.

I might have to say Godard’s best, I just might after all is said and done, it never fails to floor me

(264/365)

Would like to say Anna Karina saying what she's responsible for is more rhythmic than Jeanne Moreau's song in Jules et Jim.

Vivre sa Vie, the many sides of the face of a woman. But not just any woman, this is anna ass-kicking karina, and Godard wants you to know that, especially in the first statement that the film is dedicated to B-movies.

But i avoid the more important portion:

HAPPY BIRTHDAY ANNA!!!

Rewatched this for Anna Karina’s birthday. 

I think this is the best example of Karina in a Godard film because it shows how great her acting chops are and doesn’t shy away from giving us the fun-loving, iconic side of her.

The “la mort!” scene is one of my favorites of all time.

so at the beginning of the film Godard dedicates the film to B movies and thats when i knew i was gonna love it. told in 12 chapters the film feels like a young adult novel, one of those you read that make you feel more mature for your age because it feels meant for older people. its plot is overdramatic being that the 2 really “true” plot points, her employment as a prostitute and the ending are executed in a way reminiscent of B movies. mixed in between are the stories or chapters of philosophical talk with an elderly man, the rejection of a threesome, and sometimes pure boredom.

“The more one talks, the less the words mean.”

ميلاد سعيد للحسناء آنا كارينا ❤️

Karina, interpreta uma bela sonhadora, que anseia por atuar em peças de teatro ou filmes. No entanto, encontra-se recuando para a prostituição, um trabalho que, a princípio, era necessário para mantê-la equilibrada, mas ela se acha inescapável na profissão. Em 12 pequenas vinhetas de sua vida, vemos que Godard retira sua humanidade, pouco a pouco. Foi triste ver a inferioridade que os homens levavam-a sentir e sua deteorização mental. Nana vê seu mundo se aproximando lentamente a uma luz,que uma vez foi brilhante, mas que escureceu sua cabeça.

I might have to say Godard’s best, I just might after all is said and done, it never fails to floor me

(264/365)

I now found a movie ending that pisses me off more than The Birds (1963).

This review may contain spoilers. I can handle the truth.

unlike most of Godard’s other films, Vivre Sa Vie feels unpretentious and grounded in reality, almost like you’re watching real life unfold. it’s one of his most accessible films, and i think that’s why i felt underwhelmed by it when i saw it for the first time. rewatching it made me pay more attention to the 12-part structure, which usually i’d find annoying but here i really like. the acting obviously is tremendous, and the dialogue and situations feel pulled straight from real life. i rewatched this to hopefully gain more appreciation for it, and fortunately that’s exactly what happened.