Dissatisfied in marriage and life, Ferdinand (Jean-Paul Belmondo) takes to the road with the babysitter, his ex-lover Marianne Renoir (Anna Karina), and leaves the bourgeois world behind.
This is, however, no ordinary road trip: the tenth feature in six years by the renowned filmmaker Jean-Luc Godard is a stylish mash-up of anticonsumerist satire, au courant politics, and comic-book aesthetics. It portrays the violent, zigzag narrative about what Godard called ’the last romantic couple’, travelling from Paris to the Mediterranean Sea as Marianne is being chased by hitmen from Algeria.
With stunning color cinematography by cinematographer Raoul Coutard and Belmondo and Karina at their peaks, Pierrot le fou is one of the high points of the French New Wave, and was Godard’s last creative outburst before he immersed himself further into politically radical cinema.
Also part of ‘5x Godard’:
Jean-Luc Godard burst onto the film scene in 1960 with this free-form and juicy homage to American film genres that he prized during his time as a writer for Cahiers du cinéma, the eminent French film magazine. With its lack of polish, surplus of attitude, yes-to-all crime narrative, and radiant young stars Jean-Paul Belmondo and
Jean-Luc Godard never shied away from innovation and stress-testing the boundaries of film conventions. He swiftly rose to fame with his debut film, crime drama À bout de souffle, but did not want to repeat himself and framed Une femme est une femme as a ‘neorealist musical’. Godard admitted himself that the concept was a
Deze zomer brengt De Balie de films van Jean-Luc Godard terug naar het witte doek. Vijf klassiekers van een van de grootste vernieuwers uit de cinema. Vanaf 18 juli te zien bij De Balie! ‘Een film moet een begin, een midden en een einde hebben. Maar niet noodzakelijk in die volgorde’, zo luidt Godards bekendste
