Goddard knew early in life that movie-goers idolized him. He received, before his body was decapitated, all the tributes that a filmmaker can receive: he won 51 awards, he was declared a master at the Hollywood Academy in Venice, Cannes, Berlin, and his figure counted. And at the time of writing all the history of cinema with his filmography. But in the days of his death, the defense of Seventh Art, and the dubious curatorship of platforms, it was time to review what matters to the world, not only in his beautiful and challenging work, but in classic films, his and his own peers. From, who changed the way we describe and look.
Jean-Luc Godard was born in Paris in December 1930. He spent his childhood in Switzerland. And as a teenager, back in France, he not only discovered his passion for cinema, but at the age of twenty became part of the extraordinary group of critics at the Cahiers du Cinema, who created the so-called New French Wave. His first feature film, breathless (1960), based on a screenplay by Truffaut, revolutionized the language of cinema. His masterpieces came, Crazy and Untamed, which marked the sixties: live your life (1962), different band (1964), Crazy Pierrot (1965), alphaville (1965) and Weekend (1967). and then, in the relentless decades that followed, in which he never let down his guards, like jewelry who can save (1980), film socialism (2010) or goodbye to language (2014).
Unsettled Goddard, ready to face the audience, changed the energy, traditions, techniques of cinema. His death was an occasion to remember his genius: Mike Leigh defined his work as a “festival of challenges”, Martin Scorsese recalled that his films “are more alive than ever”, Claire Dennis acknowledged. Did: “His presence made me brave”. But it has, above all, been an opportunity to wish cinephilia a return to the era in which movies were like Goddard: brave, disturbing, brilliant.