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The Brokenwood Mysteries - (May 14th)
Below Deck - (May 14th)
The Rachel Maddow Show - (May 14th)
The Last Word with Lawrence ODonnell - (May 14th)
All American - (May 14th)
The Green Veil - (May 14th)
Body Cam- On the Scene - (May 14th)
The Good Stuff with Mary Berg - (May 14th)
7 Little Johnstons - (May 14th)
Contraband- Seized at the Border - (May 14th)
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WWE Raw - (May 14th)
The Veil - (May 14th)
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As the 1960s went by, Jean-Luc Godard was increasing adding social concerns and strident political messages to his films, but never without breaking traditional storytelling, however zany it might be with his French New Wave style. In 1967, however, he set off on a new direction. LE GAI SAVOIR was the first production that Godard shot after he bade farewell to his usual crew and dedicated himself entirely to political filmmaking. Originally made for French television, it was rejected and only screened at a few festivals, and it is easy to understand why: LE GAI SAVOIR still feels very avant-garde and intense today. The film's title is best translated "The Joy of Learning". The two people that appear in the film are less distinct characters than representations of Godard himself: Emile (Jean-Pierre Léaud) and Patricia (Juliet Berto) meet on a darkened soundstage and announce that they will study revolution. A heap of still images begins to appear on the screen: fragments of workers' union speeches, Vietnam footage, pornography, Parisian street scenes, Black Panthers, African guerilla movements, fashion shoots, advertisements from magazines, and comic books. Emile and Patricia (but really Godard) wish to make sense of everything they are seeing and to put it in the right order, for Godard believed that cinema could reflect the truth were its materials only presented in the right way. Biting the hand that feeds him, Godard attacks French television, as well as other European television networks, and Hollywood. Godard's leftist sympathies were more Maoist (or rather an infatuation with a sort of fantasy Maoism shorn of horrors it inflicted on China) than traditionally Western European Communist, and some of his biting criticism is directed towards the Soviet Union. As the film opens with this chaos of social and culture themes, the dialogue is initially driven by free association, and there's a lot of humour in the way that Godard manages to link one issue to another. One can expect puns and bitter jokes, and Godard also whispers in voiceover over the proceedings as he famously did in his earlier film "Deux ou trois chose que je sais d'elle". In one section of the film, Emile and Patricia pose questions to three people brought in off the street: two children and an old man (the last seems a bit of a wino, really), basically giving a word and asking their interlocutor to say whatever comes to mind. This is intended as a way of showing how bourgeois society is or isn't willing to confront the issues of the age, but there seems to be some hope for the kids. The film ends on a hopeful note where the characters suggest that shots missing from the film will be shot by other well-known filmakers like Bertolucci. "It's a bit vague," they say, "But film makes people think." (Godard's peers didn't quite take up his challenge.) LE GAI SAVOIR is an interesting portrait of late 1960s Paris, or at least its radical side. Shooting began before the upheavals of May 1968, and Godard was certainly prescient of the coming wave of youth anger. Editing was finished after May'68, which allowed Godard to make references to Daniel Cohn-Bendit and his expulsion from France. Another way that the film is of its era is the way that Godard links his vaguely Marxist economic ideas with sexual liberation and psychoanalysis. Jean-Pierre Léaud seems to have less room for real acting here than in his other films of the 1960s, which is somewhat disappointing. Berto's part is remarkable, however. Godard hs the camera constantly study her face. Berto is so consistenly sad and pouty in Godard's films of the 1960s that the brief moment here when she laughs is absolutely shocking.
For young Parisian boy Antoine Doinel, life is one difficult situation after another. Surrounded by inconsiderate adults, including his neglectful parents, Antoine spends his days with his best friend, Rene, trying to plan for a better life. When one of their schemes goes awry, Antoine ends up in trouble with the law, leading to even more conflicts with unsympathetic authority figures.
Paul, a young idealist trying to figure out what he wants to do with his life, takes a job interviewing people for a marketing research firm. He moves in with aspiring pop singer Madeleine. Paul, however, is disillusioned by the growing commercialism in society, while Madeleine just wants to be successful. The story is told in a series of 15 unrelated vignettes.
In the future, the government maintains control of public opinion by outlawing literature and maintaining a group of enforcers, known as “firemen,” to perform the necessary book burnings. Fireman Montag begins to question the morality of his vocation…
In occupied Paris, an actress married to a Jewish theater owner must keep him hidden from the Nazis while doing both of their jobs.
Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
In 1798, a feral boy is discovered outside the town of Aveyron, France. Diagnosed as mentally impaired, he is relegated to an asylum. A young doctor named Jean Itard becomes convinced that the boy has normal mental capacity, but that his development was hindered by lack of contact with society. He brings the boy home and begins an arduous attempt at education over several years.
In the carefree days before World War I, introverted Austrian author Jules strikes up a friendship with the exuberant Frenchman Jim and both men fall for the impulsive and beautiful Catherine.
A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism.
A committed film director struggles to complete his movie while coping with a myriad of crises, personal and professional, among the cast and crew.
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he attempts to persuade a girl to run away to Italy with him.
The third in a series of films featuring François Truffaut's alter-ego, Antoine Doinel, the story resumes with Antoine being discharged from military service. His sweetheart Christine's father lands Antoine a job as a security guard, which he promptly loses. Stumbling into a position assisting a private detective, Antoine falls for his employers' seductive wife, Fabienne, and finds that he must choose between the older woman and Christine.