Jean Seberg

Mark Rappaport's creative bio-pic about actress Jean Seberg is presented in a first-person, autobiographical format (with Seberg played by Mary Beth Hurt). He seamlessly interweaves cinema, politics, American society and culture, and film theory to inform, entertain, and move the viewer. Seberg's many marriages, as well as her film roles, are discussed extensively. Her involvement with the Black Panther Movement and subsequent investigation by the FBI is covered.

Entre 1973 et 1981, l'écrivain incarne Emile Ajar à la demande de son cousin, Romain Gary, sur la scène médiatique. Il revient sur cette affaire, évoque les personnalités de Romain Gary et de Jean Seberg, documente leur relation et raconte la vie de sa famille que Romain Gary surnommait la tribu. Les événements du vingtième siècle servent de toile de fond à son récit. …

Godard's first feature has been widely hailed as one of the most influential motion pictures ever made. On the run after killing a cop, a small-time crook (Belmondo) hides out in Paris with an American girl (Seberg). After she betrays him, he chooses to face his fate with an absurd stoicism modelled on his hero, Humphrey Bogart. BREATHLESS is the arguable cornerstone of the French New Wave, exhibiting the trademark documentary shooting style, natural sound design, and thematic interest in the detritus of American popular culture.

The first feature film directed by Jean-Luc Godard and one of the seminal films of the French New Wave, Breathless is story of the love between Michel Poiccard, a small-time hood wanted for killing a cop, and Patricia Franchini, an American who sells the International Herald Tribune along the boulevards of Paris. Their relationship develops as Michel hides out from a dragnet. Breathless uses the famous techniques of the French New Wave: location shooting, improvised dialogue, and a loose narrative form. In addition Godard uses his characteristic jump cuts, deliberate "mismatches" between shots, and references to the history of cinema, art, and music. Much of the film's vigor comes from collisions between popular and high culture: Godard shows us pinups and portraits of women by Picasso and Renoir, and the soundtrack includes both Mozart's clarinet concerto and snippets of French pop radio.