| Photos (see all 9 | slideshow) | Videos |
| Bruno Putzulu | ... | Edgar | |
| Cecile Camp | ... | Elle | |
| Jean Davy | ... | Grandfather | |
| Françoise Verny | ... | Grandmother | |
| Audrey Klebaner | ... | Eglantine | |
| Jérémie Lippmann | ... | Perceval | |
| Claude Baignières | ... | Mr. Rosenthal | |
| Rémo Forlani | ... | Mayor Forlani | |
| Mark Hunter | ... | U.S. Journalist | |
| Jean Lacouture | ... | Historian | |
| Philippe Lyrette | ... | Philippe, Edgar's Assistant | |
| Bruno Mesrine | ... | Magician | |
| Djéloul Beghoura | ... | Algerian (as Djelloul Beghoura) | |
| Violeta Ferrer | ... | Woman 1 | |
| Valérie Ortlieb | ... | Woman 2 | |
| Serge Spira | ... | Homeless Man | |
| Stéphanie Jaubert | ... | Young Girl | |
| Jean-Henri Roger | ... | Mayor Forlani's Aide | |
| Lemmy Constantine | ... | U.S. Assistant | |
| William Doherty | ... | U.S. Official | |
| rest of cast listed alphabetically: | |||
| Marie-Françoise Audollent | |||
| Ludovic Berthillot | ... | Le clochard | |
| Laurence Colussi | |||
| Marceline Loridan Ivens | ... | Woman in movie theatre | |
| Noël Simsolo | |||
| Ysé Tran | ... | Maid | |
| Marie Desgranges | ... | Woman on a bench in Paris (uncredited) | |
Directed by | |||
| Jean-Luc Godard | |||
Writing credits(in alphabetical order) | ||
| Jean-Luc Godard | writer | |
Produced by | |||
| Alain Sarde | .... | producer | |
| Ruth Waldburger | .... | producer | |
Cinematography by | |||
| Julien Hirsch | |||
| Christophe Pollock | |||
Film Editing by | |||
| Raphaëlle Urtin | |||
Casting by | |||
| Stéphane Foenkinos | |||
Costume Design by | |||
| Marina Thibaut | |||
Second Unit Director or Assistant Director | |||
| Fleur Albert | .... | assistant director | |
| Aurélien Poitrimoult | .... | first assistant director | |
| Christophe Rabinovici | .... | assistant director | |
Sound Department | |||
| Olivier Burgaud | .... | boom operator | |
| Gabriel Hafner | .... | sound | |
| Christian Monheim | .... | sound | |
| François Musy | .... | sound | |
| Jean-Alexandre Villemer | .... | sound recordist | |
Camera and Electrical Department | |||
| Léo Mac Dougall | .... | assistant camera | |
Music Department | |||
| Ketil Bjornstad | .... | composer: stock music (as K. Bjornstad) | |
| David Darling | .... | composer: additional music (as D. Darling) | |
| Karl Amadeus Hartmann | .... | composer: stock music (as KA. Hartmann) | |
| Maurice Jaubert | .... | composer: stock music (as M. Jaubert) | |
| Arvo Pärt | .... | composer: stock music (as A. Part) | |
| Georges Van Parys | .... | composer: stock music (as G. Van Parys) | |
| Recent Posts (updated daily) | User |
|---|---|
| Mark Hunter | gillygoo |
| Reference to Juliette Binoche... | higgs_boson |
| Would a novel have been better? | jessonderskov |
| This movie is deep | higgs_boson |
| A few minor points | ddurand |
| Literature! | Kliff |
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Critic Douglas Morrey says Godard's cinema is not simply about philosophy or cinema with philosophy, rather it is cinema as philosophy. The question is whether the film is concerned with philosophical issues, or a more simple polemic of how love is failed by the capitalist machine? Philosophy or socio-economics?
Filmmaker Edgar (Bruno Putzulu) pitches an idea for a project about love. When casting for the female antagonist, he meets a girl who he thinks he has met before. He later finds out that she has died. He soon realises where he had met her before in a flashback from two years before to when he was working on a production of suffering during WWII. The film is a critique on Hollywood and how capitalism is destroying cinema and love.
As for Socio-economics, (Late) Capitalism strives to be the End of History and would consequently maintain freedom of capital over the freedom of mankind (Demonstrable in the film where Edgar wants his film to be history not Hollywood)
The film succeeds in offering a philosophical problem, but demonstrates philosophy's inability to enter into any realm other than the abstract.
Godard here follows Marx' dictum: 'Philosophers have only interpreted the world, the point is to change it'.