Dominique Païni

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

Throughout the 19th century, imaginative and visionary artists and inventors brought about the advent of a new look, absolutely modern and truly cinematographic, long before the revolutionary invention of the Lumière brothers and the arrival of December 28, 1895, the historic day on which the first cinema performance took place.

Five, even six, variations on a theme, commentary and interpretation of the same photograph. An exercise to tell and summarize the history of the Cinémathèque française.

This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.

No plot available for this movie.

Roger Diamantis owns the Saint-André-des-Arts cinema in Paris. His discovery of the 7th art, his vocation to own a cinema where he could show films that resembled him, and his years in the restoration business to achieve this… He recalls his early days, talks about the filmmakers who found their place with him, and his film “Si j'te cherche, j'me trouve”.

A short video by filmmaker Noel Simsolo discussing Jean Cocteau and Jean-Pierre Melville’s creative relationship and the production of the 1950 film LES ENFANTS TERRIBLES.

A film about an ongoing cinematic adventure that began in 1978: a vast anthology of personality portraits called Cinématons, dealing with people in the arts. Historical, ethnological, sociological and psychological, this anthology is a living record of the artistic community of the last 20th century which attempts to answer these questions: Why film everyone? Why choose cultural personalities? How do the subjects look at their image? How much exhibitionism and narcissism is involved in being filmed?

No plot available for this movie.

No plot available for this movie.