The many faces of a woman trying to find herself in a world of men.
Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
Twelve episodic tales in the life of a Parisian woman and her slow descent into prostitution.
My Life to Live, It's my Life, Viver a Vida, Viver a Sua Vida. Filme Em 12 Quadros, 자기만의 인생
Godard didn't deserve Anna Karina.
Jean-Luc Godard can be a real son of of a bitch.
Vivre Sa Vie is about attempting to navigate an unfeeling world. It's about the beautiful Anna Karina and it's about tragedy. It is Godard's Pandora's Box and it unfolds rhythmically in a brilliant parade of pathos. Vivre Sa Vie is a cocoon of complex love. It is Godard studying his lover. He is trying to envelop her in his spirit. He's trying to capture her. He's trying to understand.
The film rests on the natural talents of Anna Karina. It relies solely on the power of her presence. This is not the study of Karina's character, it's an examination of the inexpressible beauty of her. It's about watching…
Clearly liked it a lot more than Breathless. At the end of the day I’m still pretty conflicted on how I feel. Like I love everything about this, the visual language, the editing, the performances, the philosophy in that 11th story. The only thing it’s missing is me giving any sort of shit about this woman. I will say, that final shot is absolutely tragic in the context of the entire film but that can’t be the only time I care about her. Ya know? Still though, I’m sure there’s a Godard for me that I’m gonna love, we’re getting closer.
In Vivre Sa Vie we get to know Nana; a woman that dreams of becoming an actress and has one man for every occasion. She believes that mankind is free and are responsible for every action and emotion, and that's a belief that is put to the test as she starts to work as a prostitute...
Vivre Sa Vie has everything I love with Godard films. The melancholy, the fantastic dialogues, the innovative camera work, the social political commentary, beautiful music, beautiful women and last, but not least; tons of references to movies, literature and philosophy. In the case of Vivre sa vie Godard is very straight forward with what he's trying to say, what existential thoughts he's trying to…
I wish I cared more about the main character, not sure if I’m supposed to be devoid of empathy towards her, because maybe Godard intended for the film to be more of an objective look into her life. Either way whatever he was trying didn’t really work for me. The dialogue was really fascinating to me (lots of parallelism) and some of the scenes (the opening and the philosophy booth talk) were incredibly intriguing. Unlike Breathless I can appreciate a lot of the artistic choices made by Godard but unfortunately much like Breathless by the end of the film I felt a bit underwhelmed by the whole experience.
7.8 / 10
Vivre Sa Vie, My Life to Live, and if it's my life to live then it's mine to give.
And so our Nana gives it to a husband she loves but then takes it back when she falls out of it. And why? Because she cannot bear to be so dependent on him and desires to live her life how she wants.
But there-in lies the problem: she can't. With her husband she loses autonomy and without him she cannot survive; she dreams of becoming an actress as she leaves but finds such aspirations unattainable. Hers is a world where women are extensions of men, and attempts to break free and blossom are met with indifference and their withering away.…
Jean-Luc Godard's Vivre Sa Vie bitterly shows the sad reality on what it's like to be a woman in a man's world.
The subject of this film: Anna Karina, Godard's own wife. She plays Nana, a young Parisian woman who leaves her unhappy marriage in an attempt to pursue a life of fame and acknowledgement. But over the course of twelve episodes, we see Nana’s spiralling descent into prostitution instead.
I liked how this film didn't treat its theme of prostitution in overly dramatic fashion; but then again, Vivre sa Vie isn't really about prostitution. This is about Nana and her search for existential truth and happiness.
Throughout its 84 minutes runtime, we are completely drawn to Nana, not just…
A stranger talks about the importance of words, when suddenly, Godard jump-cuts to a shot of Anna Karina's piercing eyes looking directly into camera. Afterwards, a man reads aloud a barrage of elegant, lustful prose, and yet all we see is an isolated Karina, framed like a monument against Godard's flat mise-en-scene. Words, images and sounds can only communicate so much. One must combine them to find the soul.
Okay…I admit, this is only my second Godard film. That being said, both films I’ve seen of his (Breathless and now Vivre Sa Vie) have left me feeling a bit cold and uninvolved. With Vivre Sa Vie I feel as if I can admire the parts but not the sum. The acting, dialog, camerawork, story, etc…all pretty wonderful…yet when I step back at the end I don’t feel connected or moved by these characters at all. There is this almost unexplainable coldness to the way Godard portrays the characters, which leaves me feeling like I’m on the outside looking in. It’s hard to put a finger on why or how this happens, maybe it’s just a personal thing and…
Jean-Luc Godard’s French new wave drama Vivre sa vie communicates a tragic inevitableness to men’s insensitive coveting and subsequent neglect of women. Told in twelve brief vignettes which continually shift style, Godard’s direction expresses his typical scope for a steep cinematic vision yet there's an uncommon tenderness in the movie where the thresholds imposed on the leading character Nana Kleinfrankenheim, portrayed by Anna Karina, are cared for sympathetically.
The film exemplifies an unbound attitude to filmmaking, as can consistently be anticipated from Godard, and there are some interesting discussions contemplating art and philosophy. Components of an assortment of diverse genres spring forth erratically, and the occasional termination of the sound associated with the close-ups of Karina’s face recalls some of the masterworks of silent cinema. It's rather gloomy material, but it touches down in a feminist territory that spotlights the unreasonably restrictive options available to women in the early sixties.
Not as actively mischievous as A Woman is a Woman – songs actually play out for a substantial period of time uninterrupted (even if eventually characteristically cut off) and I think I only counted one jump cut in the whole thing – but I think that’s the case because the general structure is itself subversive. Heartbreakingly blunt ending and I think most people can agree that the 11th chapter is probably the most emotionally stimulating and thought-provoking, but I also love the early stuff that doesn’t push plot or character in any way. The juicy single-take 2nd chapter is hypnotic and one of my favorites (and maybe one of my favorite single-takes ever), and it demonstrates how despite “lacking” the trickery…
The Criterion Challenge / Week III / Jean Luc-Godard
I wanted to watch Contempt, but no streaming services allowed to rent it so I decided to rewatch one of my favourites of Godard's. Anna Karina is just mesmerising to watch, her eyes are hypnotic. The film has an excellent rythm to it. It's melancholic, yet occasionally joyful. Dividing it into 12 parts gives it a sort of vignette quality.
But Karina. You just cannot take your eyes of her, it's like looking at an artwork, absolutely mesmerising. Cinemaographically, it has plenty of memorable shots / scenes - the scene of her going through different rooms, the viewer catching glimpses of other sex workers, her standing by a wall, in a…
I’m not saying Godard’s a hack ... I’m just saying, he’s kind of a hack.
He loves his fragmented “storytelling,” his lingering but uninteresting close-ups, shooting the backs of his actors, doing lame dolly shots, having stone-faced actors deliver pseudo-intellectual nonsense, and generally trying to make banal, everyday moments worth watching.
And that ridiculous ending. Really? That’s your final thought about prostitution, loneliness, poverty, and youth?
Criterion Challenge #3: A film directed by Jean-Luc Godard
Misogyny, the movie!
Jk but the fluctuations in tone make this movie so magnetic. Anna Karina’s presence keeps you front and center. So many intimate shots of her which create that sense of emotional connection. The scene where she’s watching The Passion of Joan of Arc is worth it all alone.
I wasn't ready for FIN!?! Man, that was a cold FIN.
Anyways in the Criterion extra features Godard babbles on about how after everyone loved Breathless he was bored and needed to make a film everyone hated so film making would be interesting again. Well I can't speak for everyone but I thought this was a masterpiece. So suck it Godard u arrogant, pompous, brilliant a-hole. 10/10
Criterion Challenge 2021 - Directed by Jean-Luc Godard
Godard, Karina and the oldest profession in the world. Its 12 tableaux lined up side-by-side like dominoes ready to be knocked over. Lend yourself to others, but give yourself to this masterpiece.
[ENG] I do not understand all the praise. Beautiful cinematography, some excellent shots, amazing Anna Karina and that's it. Because the rest is, to my taste, simply bad: an empty story, a lazy script, wannabe deep dialogs that are just boring and undeveloped characters. Nouvelle Vague is not my thing, I guess. Or maybe it was the hangover I had today.
[ESP] No entiendo todas las alabanzas. Una fotografía muy bonita, planos excelentes, maravillosa Anna Karina y ya. Porque el resto es, para mi gusto, simplemente malo: una historia vacía, un guion vago, diálogos pretenciosos que lo único que hacen es ser aburridos y personajes infradesarrollados. La Nouvelle Vague no es lo mío, supongo. O quizás era la resaca que tenía hoy.
My Life to Live is booming with ingenuity, curiosity, intelligence, romanticism, and cynicism - all in under 90 minutes. Godard is simply one of the best at truly exploring what movies are with an exquisitely trained yet fabulously open, creative mind.
His interest in the power movies have to enlighten or obscure our self-understanding, and that of the world around us, is never a finished product, and to me that’s one of the most attractive things about him as an auteur, and Anna Karina plays a massive part in that here not just in her acting, but in their joint creation as a couple. That comes through quite clearly in a few of the vignettes. I really feel invited on a journey of meaningful discovery in their work.
Really want to watch/read more New Wave crit, because this is the good stuff that helps me see more in the medium of movies than I ever thought could be there.
nossa q brisa eh essa. Um dia eu vou ver de novo pra entender melhor
Anna Karina makes this as good as she possibly can, but I just can't seem to gel with Godard. I feel like Varda did this kind of movie way better with Cleo and Vagabond.
Maybe it'll grow on me with time.
Criterion Challenge #3: Directed by Jean-Luc Godard.
Really enjoyed the visuals, and Anna Katrina's performance is very good -- just overall a little unbalanced through each part; might just need a re-watch!
What life brings before us or what we encounter on the road. Random decisions, will or fate. I am very afraid of being crushed by my dreams one day.
Mark Gubarenko 1,001 films
List made from the book 1001 Movies You Must See Before You Die. This list just from the 2020 edition,…
juliodogpit 1,001 films