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Godard in Fragments (2016)
In the 1960s, pioneering French New Wave filmmaker Jean-Luc Godard introduced the world to a new cinematic lexicon, generated from his innovative, auteurist style. Between 1960 and 1967 alone, he made fifteen features (beginning with his groundbreaking début, Breathless)—and it’s this period that regular Criterion Collection contributor :: kogonada explores in a new video essay highlighting the iconic director’s signature themes and devices
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The Married Woman (1964)
Charlotte is young and modern, not a hair out of place, superficial, cool; she reads fashion magazines – does she have the perfect bust? She lives in a Paris suburb with her son and her husband Pierre, a pilot. Her lover is Robert, an actor. Assignations with him, dinner with her husband and a client, consulting a physician: there’s tension at home, Pierre had her followed a few months before, their marital play has an edge, Pierre slaps her and apologizes. She quizzes Robert: is he acting when he’s with her? Events may force her to choose Robert or Pierre. Close-ups fill the screen; is there more than surface? Her eyes tear up. The horrors of war provide a distant counterpoint.
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