When Jean-Luc Godard passed away on Tuesday at the age of 91, he left behind a massive legacy of more than 100 feature films, shorts, and documentaries. He was the iconoclast at the heart of the French New Wave and one of cinema’s most important creators.

Also read: Jean-Luc Godard died by assisted suicide, confirms his lawyer

Godard and his peers first questioned cinematic traditions in words when they were young critics for the publication Cahiers du Cinéma in the 1950s. Then, they changed the medium from behind the camera, much like Godard in his revolutionary debut film, the iconic Nouvelle Vague work Breathless (1960).

A Woman Is a Woman (1961), Contempt (1963), Band of Outsiders (1964), Alphaville (1965), Masculin Féminin (1966), Two or Three Things I Know About Her (1967), and Week-end (1967) are only a few of the director’s now-famous films from the 1960s.

Also read: Jean-luc Godard: Leaving cinema Breathless

Notably, the Criterion Channel includes a nine-film tribute to Godard, including interviews with Godard from throughout his career and films like Le Petit Soldat (1963) and Every Man for Himself (1980).

Here are six films that you can stream right now to get you started exploring the illustrious director’s catalogue.

1. Breathless

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Jean-Luc Godard famously asserted that all you need to produce a movie is a lady and a pistol, and his 1960 film Breathless, the fatalistic love story that sparked a revolution, confirmed that theory right out of the gate.

Breathless, starring Jean-Paul Belmondo as a brazen French hooligan and Jean Seberg as the American in Paris he falls in love with against his better judgement, created a stir when it emerged as one of the earliest representations of la Nouvelle Vague, also known as the French New Wave.

Godard and his fellow New Wave members, including Francois Truffaut, who penned the script for Breathless, and Jacques Rivette, who makes a wordless appearance as a hit-and-run victim, were disgruntled film critics (not like there is any other kind) who wished to flip conventional cinema on its head.

2. My Life to Live (Vivre sa vie)

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According to Times staff writer Mark Olsen’s 2016 profile of the actor, Anna Karina was “a good fit for Godard’s distinctive blend of spontaneity and precision,” and there may not be a more imposing example than Vivre Sa Vie.

She had an “enigmatic mix of carefree insouciance, emotional transparency, and chic style.” Karina, who was married to Godard from 1961 to 1967, had already worked with him twice, on A Woman Is a Woman and Le Petit Soldat. However, it was in her role as Nana, a woman who leaves her family behind to pursue an acting career and ends up in the seedy world of sex work, that she most forcefully established herself as the “muse” of the New Wave and personified the term “tragic beauty.”

She also contributed to the demonstration that Godard’s skill as a filmmaker applied equally well to drama as it did to comedy or crime.

3. Pierrot le Fou

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With their keen, even astonishing capacity to evoke self-recognition, Jean-Luc Godard’s films have consistently represented the times in which they were created.

However, given how wide-ranging and deep their concerns are, it is scarcely remarkable that they appear eternal. Such is the case with the magnificent Pierrot le Fou (1965), which might as well be taking place right now as it was 42 years ago.

Pierrot le Fou is well known for an appearance by director Samuel Fuller, who memorably defined cinema by saying, “The film is a battleground: love, hate, action, violence, death — in one word, emotion.” The film is all that and more.

4. First Name: Carmen

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Longtime partner and collaborator Anne-Marie Miéville of Godard’s wrote the brutal farce First Name: Carmen in 1983.

Godard portrays a director who is imprisoned in a facility as his niece (Maruschka Detmers) tries to rob a bank but falls for the officer who stops her. The film revisits the lovers-on-the-run scenario of Pierrot le fou, parodying the various renditions of Carmen (Merimee’s novella, Bizet’s opera, and Otto Preminger’s film), but unlike the doomy romanticism of the earlier film, the love story is exhausted before it barely begins, mired in ill feeling and impotence.

5. Goodbye to Language

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There is an aura of daunting obscurity to Jean-Luc Godard’s Goodbye to Language 3D, especially for those searching for more traditional storytelling, but the movie is also exciting, fulfilling, and gives back many times over whatever effort and thought one spends in it.

This is Godard’s first full-length 3-D movie, and there are images and scenes here that are unlike anything ever shown on screen before, despite the fact that top-tier filmmakers like Martin Scorsese, Werner Herzog, Wim Wenders, and James Cameron have all made their own striking forays into the format.

Everyone who is curious about the potential of the cinematic experience and what may occur in a dark theatre owes it to themselves to watch Goodbye to Language.

6. The Image Book

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The Image Book is an 85-minute panoramic brainstorm that is composed of an unconnected cacophony of swirling, dazzling, and infuriating sights and sounds that have been assembled and arranged in accordance with a rhythmic and rhetorical logic that only its creator can fully comprehend.

That’s a convoluted way of explaining that it’s a new picture by Jean-Luc Godard, a director, philosopher, and writer who was born in Switzerland and is fondly regarded as one of the main figures of the French New Wave.

Since the celluloid era triumphs of Breathless, Masculin Féminin, and Weekend, it has, of course, been many years and many more films, and these days Godard is more frequently regarded — or not — as an infinitely elusive (and allusive) motion picture, an artistic giant who has progressed past drastic exploration into a realm of stubborn, pithy inscrutability.