Podcast appearances and mentions of jean luc godard

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

durée : 00:53:40 - On plonge dans les B.O de l'actrice qui a alterné films d'auteur et films populaires avec François Truffaut, Jean-Luc Godard, Bertrand Tavernier, Claude Chabrol, Diane Kurys, Nicole Garcia, Tonie Marshall, Xavier Dolan ou Steven Spielberg. - réalisation : Susana Poveda, Denis Soula Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

durée : 01:56:04 - Les Nuits de France Culture - par : Albane Penaranda - réalisation : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Du lundi au vendredi, retrouvez en podcast la chronique de Laurent Gerra sur l'antenne de RTL, il y a 10 ans. Le 19 mai 2016, Laurent Gerra imitait Jean-Pierre Marielle, Henry Chapier, Fanny Ardant, Dominique Besnehard, et Jean-Luc Godard. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

En El Ojo Crítico celebramos el Día Internacional de los Museos con una entrevista a Sandra Guimarães, directora del Museo Helga de Alvear de Cáceres, uno de los grandes referentes del arte contemporáneo en España.Además, celebramos el reconocimiento a nuestra compañera Susana Santaolalla, distinguida con el Premio Bibliodiversidad 2026 por su programa Libros de Arena. Conversaremos también con Teresa Valero, primera mujer en ganar el premio a mejor obra española en Cómic Barcelona por Contrapaso 2. Repasamos el mejor cine del Festival de Cannes con Conxita Casanovas y cerramos con Vicente Monroy, que nos acerca a “La fraternidad de las metáforas”, la gran exposición dedicada a Jean-Luc Godard en La Virreina Centre de la Imatge de Barcelona.Escuchar audio

Alors que le festival de Cannes bat son plein, Eddy Mitchell passe en revue quelques uns des films les plus attendus sur la croisette, en compagnie de réalisateurs comme Jean-Luc Godard ou Bertrand Tavernier. Tous les jours, retrouvez le meilleur de Laurent Gerra en podcast sur RTL.fr, l'application et toutes vos plateformes.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

We're headed to Paris this week to ride a new wave! Ryan Verrill of The Disconnected and Antenna Releasing joins Matt and Anthony for a lively discussion on Jean-Luc Godard's Breathless.CMP on Instagram and BlueskyThe Disconnected on YouTube, Instagram, Bluesky, Facebook, and LetterboxdAntenna Releasing on Instagram, Bluesky, and FacebookMatt on Instagram, Bluesky, and LetterboxdAnthony on Instagram, Bluesky, and Letterboxd

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

Let’s get crazy about ‘90s-era B-movies, exploitation films, and French New Wave director Jean-Luc Godard’s theory that to make a great movie, “all you need is a girl and a gun.” Zeth is looking back at Tamra Davis’ 1992 neo noir ‘Guncrazy’ starring Drew Barrymore and James Le Gros. Plus we make a mixtape inspired by the movie including songs by PJ Harvey, Steely Dan, Sloan, and more. Become an All Access member and get ad-free listening by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

Du lundi au vendredi, retrouvez en podcast la chronique de Laurent Gerra sur l'antenne de RTL, il y a 10 ans. Le 24 avril 2016, Laurent Gerra imitait François Hollande, Jean-Marie Le Pen, Jean-Luc Godard, Coluche, Brigitte Bardot, Gérard Depardieu, et Jacques Demy. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This month Tim is joined by Phil Drinkwater to discuss Jean-Luc Godard's Breathless aka À bout de souffle (1960). –––––––––––––––––––––––––––––– À bout de souffle is no =38 on the Sight & Sound critic's list. –––––––––––––––––––––––––––––– Hosted by Tim Coleman. A Moving Pictures Film Club podcast. You can sign up to our Patreon channel here for just £1/$1 pm. Alternatively you can make a donation to the runnning costs of the pod via Buy Me A Coffee here. Theme music by The Gideon Complex - recorded by FrEQ Audio Recordings. Bluesky: @top100pod.bsky.social  Instagram: @thetop100pod Letterboxd: The Top 100 Email: top100pod@gmail.com –––––––––––––––––––––––––––––– Additional music: Creative Commons — Attribution 3.0 Unported — CC BY 3.0.Music promoted by Copyright Free Music - Background Music For Videos

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

Ep. 135: Rivendica di essere stata la «prima attrice veramente nevrotica del cinema italiano». In questa intervista con Malcom Pagani, Giuliana De Sio ripercorre un'infanzia inquieta, segnata dalla scoperta dell'alcolismo della madre e culminata in un «gioco macabro»: un tentato suicidio con un flacone di sonniferi, dettato più dal «bisogno di rischiare» e fare rumore che dalla reale volontà di morire. De Sio ricorda l'amore con Alessandro Haber, con le fughe nei portoni per l'imbarazzo di fronte alle sue intemperanze, la storia profonda con Elio Petri, uomo di «grandissima eleganza» morto tragicamente mentre lei era sul set con Massimo Troisi, e il surreale provino al buio con Jean-Luc Godard, abbandonato e mandato a quel paese senza troppi complimenti. Il suo racconto arriva fino al misterioso ostracismo subìto dal cinema dopo la vittoria del secondo David di Donatello, forse per la colpa di non essere «mai stata da sistema», perché recitare, per lei, non è un lavoro, ma un «modo per svoltare l'angoscia della vita». Learn more about your ad choices. Visit megaphone.fm/adchoices

T Lo take a deep dive into director Richard Linklater's slavish love letter to the French New Wave, "Nouvelle Vague," about the making of Jean-Luc Godard's "Breathless" in 1959. After unpacking the homages and references, as well as the importance of Godard's boundary-shattering work, they settle on a single question: Is it even possible to pay homage to an act of reckless artistry by meticulously recreating it? 

Movie of the Year: 1971Sweet Sweetback's Baadasssss SongThe Sweet Sweetback's Baadasssss Song PodcastThe Sweet Sweetback's Baadasssss Song podcast brings Ryan, Mike, and Greg to one of 1971's most radical and uncompromising films. Melvin Van Peebles wrote, directed, produced, scored, edited, and starred in this landmark independent work — entirely outside the Hollywood system. The result is a film unlike any other in the bracket. Above all, it challenges every assumption about who gets to make movies, and why.This week, the Taste Buds dig into three major threads: the film as a revolutionary political act, its polarizing form and style, and its complex treatment of sex and gender. Furthermore, they induct a film into the PopFilter Hall of Fame and take on Recast the Podcast. It is a wide-ranging, debate-heavy episode from first minute to last. The Movie of the Year 1971 bracket has produced bold conversations — and this one may be the boldest yet.About the FilmSweet Sweetback's Baadasssss Song follows Sweetback (Van Peebles), a Black sex-show performer raised in a brothel. When police use him as a convenient patsy, he fights back — killing two racist cops and becoming a fugitive. He runs south toward the Mexican border. Along the way, the Black community shelters him. Bikers, revolutionaries, and sex workers cross his path. Consequently, the film becomes less a conventional chase narrative and more an odyssey of Black survival and defiance.Van Peebles privately funded the film after walking away from a studio deal at Columbia Pictures. He served as one-man auteur across every department. The film opened in just two theaters in March 1971 — Detroit and Atlanta. Nevertheless, it broke box office records on opening night and went on to gross over $15 million. The MPAA assigned it an X rating. Van Peebles turned that into the defiant tagline: "Rated X by an all-white jury." The Black Panther Party declared it required viewing for all members.Learn more at the Wikipedia entry for Sweet Sweetback's Baadasssss Song and the IMDb listing. The Criterion Collection has released a definitive edition of the film — explore it at Criterion.com. The American Film Institute has also recognized the film's landmark status — read the AFI Movie Club entry here.A Movie Revolution: Van Peebles and the Politics of IndependenceVan Peebles did not simply make a film — he staged a full act of defiance. Studio backing, the ratings system, and traditional distribution were all refused outright. Moreover, he financed part of the production by borrowing $50,000 from Bill Cosby, keeping total creative control throughout. The result was a film the industry could not co-opt, contain, or dismiss. For listeners of any Melvin Van Peebles podcast or documentary, the story of how this film got made is as remarkable as the film itself.The release strategy was equally radical. Van Peebles released the soundtrack before the film — an unusual move at the time — to build word-of-mouth in Black communities without spending money on traditional advertising. The score featured a very young Earth, Wind & Fire. By contrast, Hollywood in 1971 was still releasing social-problem films that sought respectability over truth. Sweetback rejected that approach entirely. Notably, its commercial success proved that Black-led, Black-financed films could find a massive audience without white institutional gatekeepers.Ryan, Mike, and Greg debate what Van Peebles' revolution actually accomplished. Was it the birth of a genuinely new Black cinema? Or did it also open the door for the blaxploitation genre — a category Hollywood quickly co-opted and stripped of its radical politics? Additionally, the Taste Buds ask whether the DIY model Van Peebles pioneered holds lessons for independent filmmakers working today. As a blaxploitation film podcast discussion, this episode goes deeper than genre classification — it asks what political filmmaking actually costs.Form, Style, and Watchability: A Sweet Sweetback's Baadasssss Song Podcast Deep DiveThe film's style is not subtle. Van Peebles employs jagged jump cuts, kaleidoscopic superimpositions, and psychedelic sound design throughout. These choices feel closer to Jean-Luc Godard than to anything playing at an American theater in 1971. However, they also produce a film that polarizes audiences to this day. The Sweet Sweetback's Baadasssss Song podcast tackles this polarization head-on.Some viewers find the style exhilarating — a sustained howl of rage rendered in pure cinematic form. Others find the loose structure and repetitive sequences frustrating. The Taste Buds confront this tension directly. Furthermore, they ask whether "watchability" is even the right standard for a film that never set out to be comfortable or conventional.The soundtrack adds another dimension entirely. Van Peebles composed and performed the score himself, with Earth, Wind & Fire providing the instrumental backing. The music pulses through the film like a second heartbeat. Consequently, sound and image work together to create a sensory experience unlike any other 1971 film in the bracket. Ryan, Mike, and Greg weigh in on whether Van Peebles' formal choices ultimately serve the film's political goals — or occasionally work against them.Sex, Gender, and ControversySweetback's sexuality is central to the film's identity. His sexual power is his primary weapon and his means of survival. Van Peebles frames this as a form of liberation — a radical Black body asserting itself against a system designed to destroy it. However, the film's treatment of women and of queer characters draws sharp criticism from contemporary audiences.Women in the film exist largely in relation to Sweetback's desires. The film includes graphic sexual content, some of it deeply uncomfortable by any modern standard. Moreover, the film's portrayal of lesbian characters is explicitly homophobic. The Taste Buds wrestle with how to hold these contradictions honestly. A film can be genuinely revolutionary and genuinely problematic at the same time. In fact, Sweet Sweetback's Baadasssss Song may be the most complex example of that tension in the entire 1971 bracket.Additionally, the film's opening sequence — depicting a child's sexual initiation — has unsettled audiences for over fifty years. Van Peebles cast his own son Mario in the role. That decision raises serious ethical questions that Ryan, Mike, and Greg do not avoid. Ultimately, the conversation around sex and gender in this film is not a comfortable one — and that discomfort is precisely what makes it essential. This is one of the most challenging discussions in the 1971 film podcast series to date.PopFilter Hall of FameEach season of Movie of the Year, the Taste Buds set aside the bracket to recognize films that define an era. The PopFilter Hall of Fame is not about winning a head-to-head matchup. It honors the films that changed cinema itself — the ones that opened doors, broke rules, and made everything that came after possible.The Hall of Fame carries special weight in this episode. Sweet Sweetback's Baadasssss Song raises the question of what "greatness" means for films that operate outside mainstream critical frameworks. A film does not need to be comfortable, polished, or widely loved to be important. The Hall of Fame exists precisely to honor that distinction. This week, the hosts make their cases for a 1971 inductee. Tune in to hear which film earns the honor — and whether all three Taste Buds can agree on the pick.Recast the PodcastIn Recast the Podcast, Ryan, Mike, and Greg take on one of cinema's great thought experiments. They choose a film and rebuild the cast from scratch — drawing on actors from any era, any genre, any corner of film history. Each host makes their picks. Then the debate begins.Sweet Sweetback's Baadasssss Song presents a unique challenge for Recast the Podcast. The film was defined by Van Peebles' decision to cast himself. Sweetback's blank-faced, nearly wordless presence was a deliberate choice — not a performance in the conventional sense, but a statement. Who could step into that role today? Who has the gravity, the physicality, and the political weight to carry the film's central conceit? The Taste Buds bring their full range of cinematic knowledge to the question. Listen in to hear their picks, the reasoning behind each choice, and where the three hosts inevitably disagree.Why Sweet Sweetback's Baadasssss Song Still MattersSweet Sweetback's Baadasssss Song was never meant to be easy. Van Peebles built it as a provocation — a film that demanded a response. More than fifty years later, it still gets one. The film's influence runs through Spike Lee, John Singleton, Ava DuVernay, and virtually every Black filmmaker who followed. However, its importance is not only historical. The questions it raises about representation, power, and who controls the means of production are still urgent today.Furthermore, the film's DIY model anticipated the independent film movement by decades. Van Peebles proved that a filmmaker could retain complete creative control, bypass the studio system entirely, and still reach an enormous audience. That lesson has...

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

Le Mépris de Jean-Luc Godard, un film sorti en 1963, est devenu depuis un film culte. Le Mépris cʹest dʹabord un hommage au corps de la femme le plus célèbre du moment Brigitte Bardot. Cʹest ensuite un tournage incroyable perturbé par des nuées de paparazzi dans des décors grandioses. Le Mépris, cʹest Rome et Cinecittà, Capri et une villa époustouflante sur la mer. Cʹest aussi Fritz Lang, Michel Piccoli, Jack Palance, Jean-Luc Godard. Basé sur le livre homonyme dʹAlberto Moravia, le réalisateur fait un chef-dʹœuvre, qui rencontre peu de succès à sa sortie. De plus le film est un peu chahuté par ses producteurs. Mais tout ça contribue à sa légende. Le Mépris révélera, avec le temps qui passe, son intemporalité et sa force. Vous lʹavez compris, cʹest lʹhistoire dʹun film particulier, dʹun tournage particulier, de Brigitte Bardot, de Jean-Luc Godard et de Michel Piccoli dont il va être question aujourdʹhui. Pour vous en parler, nous avons la bible dʹAntoine de Baecque quʹil consacre au réalisateur, ainsi que beaucoup, beaucoup dʹarchives, des extraits, des anecdotes. Mais il est temps de pénétrer dans la chambre, Brigitte Bardot est déjà là….son corps est là en tous cas, la voilà qui le détaille. REFERENCES NEMER, François, Godard (Le cinéma), Découvertes Gallimard, 2006 CERISUELO, Marc, Le Mépris, Les Editions de la Transparence, coll. Cinéphilie, 2006 VIMENET, Pascal, Préface de Jean Douchet, Le Mépris, Jean-Luc Godard, Image par Image, Hatier, 1992 DE BAECQUE, Antoine, Godard, biographie, éditions Grasset, 2010 Jacques Rozier, Paparazzi https://www.cinematheque.fr/henri/film/63574-paparazzi-jacques-rozier-1963/

Giacomo D'Ambrosio"Il ladro di chimere"Edizioni Ensemblewww.edizioniensemble.it«È Paolo il filo conduttore in tutta l'ossatura del romanzo Il ladro di chimere di Giacomo D'Ambrosio, coprotagonisti sono Sara e il personaggio della psicanalista. Scrittura scorrevole, originale, a volte surreale, ricca di riferimenti e citazioni (come le sceneggiature di Quentin Tarantino o di Jean-Luc Godard), di autori famosi che Giacomo, nonostante la sua giovane età, ben conosce e che ha letto, visti e ascoltati. Poeti, cantautori raffinati, filosofi come Baudelaire o Battiato, Ligabue o Bukowski, Rousseau, Schopenhauer o Platone che gli danno fiducia. Così come i luoghi narrati, reali o onirici, vissuti o immaginati. Da Parigi a New York, da Buenos Aires a Helsinki a Roma, la distanza è breve. Questa storia è una sorta di diario terapeutico che diventa romanzo, a volte ironico e dissacrante nei confronti del disagio psicologico giovanile, dell'amore e dei tradimenti, delle situazioni reali del mondo di oggi. Dunque, Il ladro di chimere, per com'è strutturato, potrebbe diventare sicuramente un film. Detto ciò sono colpito soprattutto dal suo lirismo. Un lirismo non abusato e senza rischi di farsi bruciare le ali come Icaro. Ammiro anche la sua immaginazione felliniana. Un romanzo affascinante, oserei dire, felice da parte mia per l'esordio letterario di questo giovane autore».Guillaume ChpaltineGiacomo D'Ambrosio (Priverno, 1996) è laureato in Lettere presso l'Università di Roma Tor Vergata. S'interessa di cinema e di teatro, oltre che di critica e di geopolitica. Il ladro di chimere è il suo primo romanzo.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

David Sterritt is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard, and his many years as the Film Critic for The Christian Science Monitor, where, from 1968 until... Read More ›

In "The Testament Of Ann Lee" folgt die Regisseurin Mona Fastvold den Spuren der Shaker-Bewegung aus dem Ende des 18. Jahrhunderts. Zwischen ekstatischem Tanz und Zölibat erzählt der Film von der Gründerin dieser Freikirche, gespielt von einer entgrenzten Amanda Seyfried. Auch in "Nouvelle Vague" von Richard Linklater geht es um eine sektenhafte Gruppe Gleichgesinnter mit höheren Zielen. Ende der 1960er Jahre wollten einige französische Filmverrückte das Kino neu erfinden. Linklater zeigt die Dreharbeiten zum Klassiker "Außer Atem" von Jean-Luc Godard als Initialzündung einer Neuen Welle. Zwei Filme in einer Episode, die Pia Reiser und Christian Fuchs auf unterschiedliche Weise euphorisierten. Als Bonus am Anfang: Kurzbesprechungen von Bradley Coopers Ehedrama "Is This Thing On?" und Kristen Stewarts Regiedebüt "The Chronology of Water". Sendungshinweis: FM4 Film Podcast, 23.03.2026, 0 Uhr

« Si mettre en scène est un regard, monter est un battement de cœur », écrivait Jean-Luc Godard en 1956 dans les Cahiers du cinéma. À l'occasion du festival Les Monteur.ses s'affichent, nous consacrons cette émission au montage, avec Alexandra Strauss, Charlotte Tourrès et Young-Sun Noh. Alexandra Strauss Alexandra Strauss travaille dans le montage depuis 1993. Après avoir été assistante (de Françoise Collin, Camille Cotte et Martine Barraqué entre autres), elle travaille régulièrement avec Shahrbanoo Sadat (3 films), Raoul Peck (8 films), Roy Andersson, Serge Avedikian, Seemab Gul, Illum Jacobi sur des fictions et des documentaires. Grâce à ses collaborations avec la Suède, elle est nominée deux fois aux Guldbaggen (césars suédois) pour le meilleur montage, et à quelques prix de montage aux USA pour I Am Not Your Negro, Exterminate All The Brutes et Orwell 2+2=5. Elle a aussi publié deux romans.   Charlotte Tourrès Charlotte Tourrès se forme aux Beaux-​Arts puis à la FAMU-​Prague, et commence à travailler comme assistante avant de devenir cheffe monteuse. Elle a collaboré à de nombreux films, essentiellement des longs métrages documentaires de création, notamment We Don't Care About Music Anyway de Cédric Dupire et Gaspard Kuentz, L'Assemblée, de Mariana Otero, Saigneurs de Vincent Gaullier et Raphaël Girardot, Ici, je vais pas mourir d'Eddie Laconi, Il n'y aura plus de nuit d'Éléonore Weber, Interceptés de Oksana Karpovych. Green Line est le cinquième film qu'elle monte avec Sylvie Ballyot.   Young-Sun Noh Young-Sun Noh est une monteuse et une réalisatrice, née à Séoul. Après ses études aux Beaux-Arts, elle intègre le master de l'École documentaire de Lussas où elle découvre la passion du montage. Depuis, elle a collaboré avec plusieurs cinéastes, notamment Sonia Ben Slama (Machtat sélectionné à l'ACID Cannes), Marie Bottois (Le Passage du col sélectionné au César) ou encore Eva Tourrent et Aminatou Echard. Elle a également réalisé un documentaire, Yukiko, sélectionné dans de nombreux festivals tels que l'IDFA, DMZ docs et YIDFF Yamagata.   ⇒ Le festival Les Monteur.ses s'affichent.

Did you know that one time Jean-Luc Godard got absolutely railed out on cocaine and made a Spider-Man Movie? We talk about it! Check out the show on Letterboxd if you're into that thing. Matt is also on there. And we got a Bluesky going. Next episode is about "Lessons of Darkness," watch it here.

This week on ClapperCast, Nicolò Grasso joins Carson Timar to visit the world of Jean-Luc Godard with a review of his third film: Vivre Sa Vie!Subscribe on Patreon for Bonus Episodes & Early Access: https://www.patreon.com/clappercastpodEmail us at ClapperCast@gmail.com- Social Media Links -Twitter: https://twitter.com/ClapperPodcastLetterboxd: https://letterboxd.com/clappercast/Carson Timar: https://bsky.app/profile/carsontimar.bsky.socialHillary White: https://letterboxd.com/degelle/Nicolò Grasso: https://bsky.app/profile/nickygra97.bsky.socialCreate Your Podcast on Zencastr Today: https://zencastr.com/?via=clappercastThanks for Watching!

Du lundi au vendredi, retrouvez en podcast la chronique de Laurent Gerra sur l'antenne de RTL, il y a 10 ans. Le 26 janvier 2016, Laurent Gerra imitait Bertrand Tavernier, Eddy Mitchell, Jean-Luc Godard, Bourvil, de Funès, Jean Poiret, Michel Serrault, et Jacques Demy. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Forrest. Conan Neutron, Kristina Oakes and Scott Interrante talk about Richard Linklater's Blue MoonPaired with Nouvelle Vague, Linklater's biopic about Jean Luc Godard and the making of Breathless in 1960. This is another non-standard biopic, this time about Lorenz Hart, the former partner of Richard Rogers, on the opening night of Oklahoma. Starring Ethan Hawke, in a totally transformed role, that's gotten him Oscar buzz and critical praise as Lorenz Hart Also starring Margaret Qualley, Bobby Cannavale, Andrew Scott, and Simon Delaney. Scott Interrante can be found both on the podcasts "This is the Greatest Song I've Ever Heard In My Entire Life" https://www.iheart.com/podcast/269-this-is-the-greatest-song-92782914As well as Big White Elephants https://bigwhiteelephants.podbean.com/It's our Oscars Month, we got a bunch of 2025's biggest movies (that we haven't covered already) up on deck, culminating with our Oscars LIVE Coverage in March #richardlinklater #bluemoon #nouvellevague #linklater #academyawards #academyawards2025 #academyawards2026 #andrewscott #bestactor #bestoriginalscreenplay #filmpodcast #podcast #margaretqualley #godard #breathless #podcast #margaretqualley #godard #breathless We are also streaming on @thisspacetv throw them a follow!!Join our discord: https://discord.gg/ZHU8W55pnhJoin our Patreon to get all our After Parties https://www.patreon.com/MovieNightExtra

Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In episode 159 Sam is joined by filmmaker Richard Linklater, director of Before Sunrise, Before Sunset, School of Rock, and Blue Moon. His new movie, Nouvelle Vague, follows the shooting of Godard's Breathless [À Bout De Souffle].  Richard has chosen Breathless [À Bout De Souffle] (90 mins). Directed by Jean-Luc Godard and released in 1960, the classic French New Wave drama stars Jean-Paul Belmondo and Jean Seberg.  Sam and Richard discuss shooting his new film Nouvelle Vague on the same locations as Breathless, why the runtime of Breathless was revolutionary, and how Richard rarely makes films over two hours long.  Thank you for downloading. We'll be back in a couple of weeks! If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!  Rate and review on Apple Podcasts and Spotify.  Show your support for the podcast and help us stay truly independent by leaving us a tip at our Ko-fi page: https://ko-fi.com/90minfilmfest Website: 90minfilmfest.com Blue Sky:  @90minfilmfest.bsky.social Instagram: @90MinFilmFest Hosted and produced by Sam Clements. Edited and produced by Louise Owen. Guest star Richard Linklater. Additional editing and sound mixing by @lukemakestweets. Music by Martin Austwick. Artwork by Sam Gilbey.  We are a proud member of the Stripped Media Network.

An accessible introduction to the concept of the auteur (author) in film theory. In The Film Auteur: Angles of Vision (Routledge, 2026) Robert Kolker and David Wyatt provide readers with a history of auteur theory, from its initial origins in France in the late 1940s as an outgrowth of the cinematic theories of the French film critics and theorists André Bazin and Alexandre Astruc, to the canonizing work of American film critic Andrew Sarris in the 1960s. After a streamlined account of the various postwar renaissances in film - the shock of “Neorealism”, the “New Wave,” and “New American Cinema” - the book features detailed examinations of the work of forty-eight auteurs, including F.W. Murnau, Jean-Luc Godard, Ida Lupino, Alfred Hitchcock, Yasujirō Ozu, Stanley Kubrick, Spike Lee, Pedro Almodóvar, and Jane Campion. In its focus on a limited number of auteurs, this book aims to offer a map of representative figures rather than an exhaustive or comprehensive list, providing an informative entry point to the study of the auteur. Essential reading for any students of film theory and film studies, particularly those taking classes on the auteur. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

An accessible introduction to the concept of the auteur (author) in film theory. In The Film Auteur: Angles of Vision (Routledge, 2026) Robert Kolker and David Wyatt provide readers with a history of auteur theory, from its initial origins in France in the late 1940s as an outgrowth of the cinematic theories of the French film critics and theorists André Bazin and Alexandre Astruc, to the canonizing work of American film critic Andrew Sarris in the 1960s. After a streamlined account of the various postwar renaissances in film - the shock of “Neorealism”, the “New Wave,” and “New American Cinema” - the book features detailed examinations of the work of forty-eight auteurs, including F.W. Murnau, Jean-Luc Godard, Ida Lupino, Alfred Hitchcock, Yasujirō Ozu, Stanley Kubrick, Spike Lee, Pedro Almodóvar, and Jane Campion. In its focus on a limited number of auteurs, this book aims to offer a map of representative figures rather than an exhaustive or comprehensive list, providing an informative entry point to the study of the auteur. Essential reading for any students of film theory and film studies, particularly those taking classes on the auteur. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Pink Smoke is back on track, picking up with the sixth entry of Donald E. Westlake's Parker series. A true outlier, The Jugger doesn't feature an epic heist or a ragtag mix of reliable and backstabbing criminals. In this one Parker's all alone, dropped into a situation he's not sure about, forced to make decisions that will have giant ramifications on his life and the series moving forward. We also discuss Made in U.S.A., Jean-Luc Godard's 1966 adaptation of The Jugger which is technically the first Parker movie even though you really have to squint to find any tract of Westlake. For one thing...Parker is a woman. And it just gets more estranged from the source material from there.

https://daredaniel.com/wp-content/uploads/2026/01/CANON-FODDER_S01_E53.mp3 Pierrot le Fou (1965; Dir.: Jean-Luc Godard) Canon Fodder Episode 53 Daniel and Corky go on the lam with Jean-Paul Belmondo and Anna Karina to review Jean-Luc Godard’s apocalyptic road movie Pierrot le Fou. But were your hosts Vague-ly entranced by Godard’s Nouvelle vision, or did they act the Fou? PIERROT LE FOU FACTS & FIGURES Sight & Sound 2022 Critics Poll Ranking: #85 [tied] World premiere: Aug. 29, 1965 (Venice Film Festival) IMDB synopsis: “Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.” CLIPS & CLIPPINGS Official trailer for Pierrot le Fou A Galaxie in the ocean “A film is like a battleground.” Kissing cars NEXT EPISODE’S MOVIE Where Is the Friend’s House? (1987; Dir.: Abbas Kiarostami) IMDB synopsis: “Eight-year-old Ahmed has mistakenly taken his friend Mohammad’s notebook. He wants to return it, or else his friend will be expelled from school. The boy determinedly sets out to find Mohammad’s home in the neighbouring village.” Our review of Where Is the Friend’s House comes out Tuesday, Feb. 3! Follow Dare Daniel & Canon Fodder on Facebook and Instagram. Be sure to listen, rate, review and subscribe to the show on Pandora, Apple Podcasts, Spotify, Listen Notes, Castbox and more. New episodes every other Tuesday! Please help support the show by clicking the Donate button on the homepage or find “Support the Show” in the main menu. Read more of Daniel’s movie reviews at Dare Daniel and Rotten Tomatoes. The post Pierrot le Fou – Canon Fodder Episode 53 appeared first on Dare Daniel & Canon Fodder Podcasts.

This is our NEW RELEASE review podcast, ONE HOT TAKE.What makes Nouvelle Vague special is Linklater's confidence in the hang. He understands that revolutions don't look revolutionary while they're happening. They look like people standing around, arguing about ideas, borrowing gear, shooting on streets they don't own, and trusting that something will cohere later.Synopsis:The behind the scenes of the filming of Jean-Luc Godard's Breathless (1960), a landmark of the French New Wave film movement.Stu Coote:The co-host of the (retired) Sinner Files movie podcast is the chief instigator behind our cinematic deep-dive brand.One Heat Minute ProductionsWEBSITE: oneheatminute.comTWITTER: @OneBlakeMinute & @OHMPodsMERCH: https://www.teepublic.com/en-au/stores/one-heat-minute-productionsSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Filmmaker Richard Linklater doesn't speak French, but that didn't stop him from directing a movie that's almost entirely in French. ‘Nouvelle Vague' focuses on the beginning of the New Wave of cinema, specifically Jean-Luc Godard and his landmark 1960 movie ‘Breathless.' "I know that sounds insane," Linklater says, "but me not having the language wasn't even in my top 10 concerns about if I could pull off the movie." Linklater spoke with Terry Gross about the impact of the French New Wave, and his other new film, ‘Blue Moon.' It's about Broadway lyricist Lorenz Hart, the former creative partner of Richard Rodgers.Also, Maureen Corrigan reviews the novel Heart the Lover by Lily King. Follow Fresh Air on instagram @nprfreshair, and subscribe to our weekly newsletter for gems from the Fresh Air archive, staff recommendations, and a peek behind the scenes. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy