Le missionnaire (1964)

Paris, France, December 1897. The young playwright Edmond Rostand feels like a failure. Inspiration has abandoned him. Married and father of two children, desperate and penniless, he persuades the great actor Constant Coquelin to perform the main role in his new play. But there is a problem: Coquelin wants to premiere it at Christmas and Edmond has not written a single word.

Industrialist Pierre Verdier kills his mistress Jeanne Ancelin by throwing her off a train. Her husband, Ancelin, decides to take revenge on his wife's murderer, who has been acquitted by justice.

In a shadowy world stitched from nightmares, a young woman's harrowing journey in a seedy hotel unveils her traumatic past. Haunted by violence and stalked through desolate streets, her psyche unravels as she confronts an abusive husband and unsettling memories.

The mind of Pierre Bérard, a successful middle-aged architect, is torn between his unstable present with Hélène, his younger lover, and his happy memories of the past with Catherine, his ex-wife; but his true destiny awaits him at a crossroads on his way to Rennes…

After writing for Cahiers du cinéma, a young Jean-Luc Godard decides making films is the best film criticism. He convinces producer Georges de Beauregard to fund a low-budget feature, and creates a treatment with fellow New Wave filmmaker François Truffaut about a gangster couple. The result? Breathless, one of the first features of the Nouvelle Vague era of French cinema.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

Stressed and overworked, famous French movie star Michel Blanc is beginning to wear down, physically and mentally, from the pressure and demands of fame. Already in a fragile state of mind, strange events start to transpire all around him, and he gradually loses his grip. Taking the advice of a psychiatrist, Blanc retreats to the countryside with his friend Carole Bouquet, but Blanc still has not managed to escape all of his problems.

In the shadowy outskirts of Paris, a desperate door-to-door salesman crosses paths with a mysterious young woman trapped in a grim world. As his obsession deepens, his grip on reality begins to slip—and the line between escape and destruction starts to blur.

10-year-old Arco lives in a far future. During his first flight in his rainbow suit, he loses control and falls into the past. Iris, a girl his age from 2075, comes to his rescue and tries by all means to help send him back to his era.

The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.